Journal articles on the topic 'School of Art History'
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1
Galbraith, Lynn, and Marvin J. Spomer. "Does Art History Go to School?" Art Education 39, no. 5 (September 1986): 10. http://dx.doi.org/10.2307/3192918.
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Sokolyuk, L. "Kharkiv Art History School (1900s – early 2020s)." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 55–70. http://dx.doi.org/10.33625/visnik2021.02.055.
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The article attempts to outline the activity of Kharkiv art history school from the time of its formation in the 1900s to the present day. The author reveals the main directions of research of university art history in Kharkiv, as well as figures of museum institutions who were engaged in the study of topical problems of art before the outbreak of Stalinist terror, when Kharkiv art history school was completely destroyed, and its representatives were either shot (F. Shmit, P. Fomin, K. Slipko-Moskaltsiv) or sent into exile (S. Taranushenko, P. Zholtovsky, D. Gordeiev, O. Berladina). It is emphasized that none of them ever returned to Kharkiv. This became a serious obstacle in the restoration of the scientific art history school in the city. This process lasted for a very long time in comparison with other artistic centers, Kyiv and Lviv in particular. The article reveals the traditions of art history science in Kharkiv, laid down in the first third of the 20th century before its destruction in the Stalinist period. The author also shows the changes in the organization of research activities in modern conditions, when university art history has become a thing of the past, and the scientific center has moved to the higher art institution of the city, which became the Kharkiv Institute of Art and Industry (the Kharkiv State Academy of Design and Arts from 2001).The main directions of the development of art history in this higher educational institution of art in Kharkiv are revealed. It is shown that, first of all, Ukrainian studios were resumed as a separate direction and such an outstanding phenomenon of Ukrainian national art as M. Boichuk’s school, destroyed during the Stalinist repressions, was reconstructed. Separate pages about some figures of the glorious cohort of Ukrainian masters who, with their work, personified the bright and tragic era for the Ukrainian creative intelligentsia of the 1920s, namely artist-writer M. Zhuk as well as representatives of the avant-garde phenomenon in the artistic culture of the 20th century in Kharkiv (V. Yermilov, B. Kosarev, A. Petrytsky), were also revealed. Not only was the range of Oriental studies restored, but to some extent expanded, the study of Far and Middle Eastern art was introduced, and the study of Ukrainian art Judaica and Jewish art was brought to the wider modern world. In the Soviet period this was impossible due to the policy of the Soviet power. Ukrainian theater decoration art, Ukrainian school of art photography, contemporary art became new directions. The development of established traditions and deepening of the study of the sacred art and modern art forms are among the prospects for further directions.
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Schmidt, Leoni. "Embedding Drawing, Art History & Theory in an Art School Curriculum." International Journal of the Arts in Society: Annual Review 5, no. 5 (2011): 95–104. http://dx.doi.org/10.18848/1833-1866/cgp/v05i05/35913.
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Dolšina, Marjana. "The Slovenian Art History Textbook in Comparison to Polish Textbooks: Authorship and Content, Didactic Structure and Publishing Circumstances." Journal of Education Culture and Society 5, no. 1 (January 7, 2020): 285–98. http://dx.doi.org/10.15503/jecs20141.285.298.
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The paper analyses two concepts of art history textbooks for secondary schools. It discusses their role in the learning and teaching process of art history and related school subjects within the formal educational programmes in Slovenia and their didactic structure. The comparison between one Slovenian and two Polish textbooks might contribute to better understanding of the present situation regarding art history textbook production in Slovenia, which is a result of several factors: the historical continuity of textbook writing and research in textbook didactics, the current school policy and fi nancial competition on the textbook market. Its intention is also to clarify the idea of didactic transformation of the art history contents from the challenging scientifi c texts to a form suitable for secondary school students who are textbooks’ main target audience.
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Arutynyan, A. A. "German history of art of 19th century and problems of Armenian Medieval heritage." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 147–50. http://dx.doi.org/10.30725/2619-0303-2017-2-147-150.
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The science of art in Germany is based on the classical tradition, associated with a focus on ancient heritage, and a romantic perception of Gothic as a manifestation of the national school. In the mid-nineteenth century the first General history of art appeared, which, along with the national art and culture examined regional schools. Armenian medieval art is systematized and concisely described in the work of Kugler, in Schnaase’s book analysis becomes more comprehensive, detailed and consistent.
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AKIMOV, SERGEY. "MASTERY OF ART HISTORY METHODOLOGY AS A PROFESSIONAL COMPETENCE OF A TEACHER OF ART HISTORY AT A CHILDREN'S ART SCHOOL." Культурный код, no. 2022-3 (2022): 69–86. http://dx.doi.org/10.36945/2658-3852-2022-3-69-86.
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Methodological heritage of classical art studies is considered in this article as a basis for systematization and conceptual understanding of educational material in teaching art history in children's art school. The necessity for a teacher to know the ideas and principles of cultural-historical and formal approaches, iconology, spiritual-historical method of M. Dvořak and his followers is emphasized; an attempt is made to show their significance for pedagogical practice. The works of modern Russian art historians are considered, in which interesting methodological problems are solved and familiarization with which will be useful to teachers in theoretical and practical aspects.
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Garoian, Charles R. "Teaching Critical Thinking through Art History in High School." Design For Arts in Education 90, no. 1 (October 1988): 34–39. http://dx.doi.org/10.1080/07320973.1988.9935541.
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Stankiewicz, Mary Ann, and Foster Wygant. "School Art in American Culture, 1820-1970." History of Education Quarterly 34, no. 4 (1994): 491. http://dx.doi.org/10.2307/369284.
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Walton, Neil. "The Journal Block and Its Art School Context." Arts 7, no. 4 (November 5, 2018): 74. http://dx.doi.org/10.3390/arts7040074.
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This paper examines an important moment in the recent history of UK art education by examining the magazine Block, a radical and interdisciplinary publication produced from within the art history department of an art school in the late 1970s and 1980s. Block was created and edited by a small group of lecturers at Middlesex Polytechnic, most of whom were art school educated; it was formed by, and in turn influenced, the milieu of studio-based art education in the UK. Despite the small scale of its operation, the magazine had a wide distribution in art colleges and was avidly read by lecturers looking for ways to incorporate new theoretical, often Marxist, feminist, poststructuralist, perspectives into their teaching.
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Proshchenko, Anastasia. "“Dostoevsky Schools” in the Russian Press." Неизвестный Достоевский 8, no. 1 (March 2021): 206–41. http://dx.doi.org/10.15393/j10.art.2021.5282.
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The article analyzes newspaper and magazine materials about schools named after F. M. Dostoevsky (1881‒1917). Most of the publications concern the history of the parish school in Staraya Russa, but the authors found out that at the turn of the 20th century several more attempts were made to open an educational institution in memory of the writer, namely in Kiev and Kazan provinces. The article provides a brief overview of the history of other schools that ever bore the name of F. M. Dostoevsky (Shkid in Petrograd, a gymnasium in Harbin, a school in Dostoevo, school No. 2 in Staraya Russa, school No. 1148 in Moscow). During this period, the press began a broad discussion of the idea of perpetuating the writer’s memory by opening public schools named in his honor; thanks to the initiative of “Novoe Vremya” newspaper, a fundraising campaign was initiated to establish the first school in Staraya Russa. The accents and assessments of the Russian press are of particular value: they are an expression of both the public attitude towards F. M. Dostoevsky, and a means of preserving the nation's memory of him. The press materials allow to track the attitude of people to the heritage of F. M. Dostoevsky and to establish the motives that inspired representatives of various social strata to donate funds for the construction of schools in memory of the writer. The following sources are used as a foundation: chronicles, reports and other texts from the newspapers “Novoe Vremya,” “Moskovskie Vedomosti,” “Kazansky Telegraph,” “Nedelya,” “Volzhsky Vestnik,” “Starorusskaya Pravda,” “Volkhovsky Listok,” “Kazanskie Gubernskie Vedomosti”; articles from the magazines “Istorichesky Vestnik,” “Novgorodskiye eparhialnye Vedomosti,” and others.
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Irvine, Betty Jo. "Dual Master’s degree in art librarianship, Indiana University, USA." Art Libraries Journal 19, no. 2 (1994): 9–11. http://dx.doi.org/10.1017/s0307472200008749.
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In 1985 the dual master’s degree program in art librarianship was developed at Indiana University by the head of the Fine Arts Library, working with faculty members in the School of Fine Arts/Art History and the School of Library and Information Science. This program is designed to prepare students in the United States for professional library and information specialist positions in fine arts libraries and information centers. The student is offered a coordinated approach to achieving two masters degrees — one in art history and the other in library and information science — and must be admitted to both schools. For this program the course ‘Seminar in Art Librarianship’ was devised, covering topics such as administration, collection development, reference services, and visual resources management. Further requirements include a research bibliography course in art history and fieldwork experience in the Fine Arts and Slide libraries. This program seeks to meet the need for a marketable combination of subject–specific and library/information science education for art library and visual resources professionals.
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Penketh, Claire. "Historicizing an Ocularnormative Future for Art Education." Journal of Literary & Cultural Disability Studies 16, no. 1 (February 1, 2022): 5–22. http://dx.doi.org/10.3828/jlcds.2022.2.
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The future of art education is shaped by its past, yet the history of art education in special or segregated schools is largely absent from authorized histories of the subject. Previous historical accounts of educational policy and practice establish art and disability as parallel concerns. However, the emergence of educational institutions to promote the visual arts and the contemporaneous establishment of segregated education for disabled children and young people indicate the significance of capitalist industrialization on the production of both. Beginning in the mid-nineteenth century, the article examines parallel histories and the futurity they imagine via an exploration of two key texts: Arthur Efland’s A History of Art Education (1990) and Michael Royden’s history of the Royal School for the Blind in Liverpool, Pioneers and Perseverence (1991). An increased emphasis on observation and drawing as a means of enhancing quality in British design prescribed an ocularnormative future for art education at this time while education at the Royal School for the Blind shifted its emphasis from technical, craft, and arts-based training to a literacy-based education. The article discusses the relevance of these parallel concerns and the apparent inevitability of an ocularnormative future for art education.
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Moilanen, Mark. "Identifying Teachers' Concepts and Subsequent Practices of Art History in Secondary School Art Programs." Marilyn Zurmuehlen Working Papers in Art Education 6, no. 1 (1987): 127–34. http://dx.doi.org/10.17077/2326-7070.1166.
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Polli, Kadi. "Autumn School of The University of Tartu’s Department of Art History: Art and Beauty." Baltic Journal of Art History 8 (December 30, 2014): 198. http://dx.doi.org/10.12697/bjah.2014.8.06.
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Alyabieva, Valentina. "From the History of Combinatorial Analysis: From Idea to Research Schools." Вестник Пермского университета. Математика. Механика. Информатика, no. 2(57) (2022): 14–25. http://dx.doi.org/10.17072/1993-0550-2022-2-14-25.
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The article explores the development of combinatorial analysis from the idea to scientific schools. Combinatorial research was stimulated by G.W. Leibniz's ideas about combinatorial art and special geometric analysis – Analysis Situs in the 17th century. Various combinatorial problems were solved by L. Euler in the XVIII century. The first scientific school of combinatorial analysis arose by K.F. Hindenburg in the second half of the 18th century in Germany. Combinatorial-geometric configurations were studied in the 19th century. A. Cayley and J. Sylvester coined the term tactics for a special branch of mathematics, of wich order is proper sphere. The modern combinatorial schools are Gonin's school in Perm and the combinatorial Rybnikov's school in Moscow.
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Agratina, Elena E. "Royal Free School of Drawing by Jean-Jacques Bachelier: Development of Education and Craftwork in France." Observatory of Culture 17, no. 5 (November 12, 2020): 538–49. http://dx.doi.org/10.25281/2072-3156-2020-17-5-538-549.
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For the first time in Russian, the article reconstructs the history of the free school of drawing founded by the French artist and talented teacher J.-J. Bachelier (1724—1806); analyzes the charter and rules of this institution, its educational programs and practical activities; determines the role in the development of artistic craft in France. The article’s subject matter is multidisciplinary and is located at the intersection of the theory and history of art, art education and pedagogy. In view of the small number of comprehensive studies on the history of art education in France, this study expands the notion of it on the example of this educational institution. The school was opened in Paris at the initiative of J.-J. Bachelier for boys from the craftsmen environment. Although many different schools had been founded throughout France, the educational institution of Bachelier had special conditions of origin and a fortunate destiny — later it became part of the National School of Decorative Arts. From 1750, Bachelier became head of the Painting Department of the Vincennes (later Sevres) Porcelain Manufactory. According to his notes, his first concern was to make specialists. That is why he decided to organize a school where children were accepted from the age of eight and spent six years receiving the highest quality secondary art education of that time. Until now, Russian scientific literature has not paid enough attention to the history of French educational institutions in the field of art, despite the fact that France used to serve as a model for the whole of Europe in this regard. This article partially fills this gap, as well as provides a brief overview of other (less successful, but no less interesting) projects of J. Bachelier, for example, an art school for girls, the brilliant idea of which was never realized.
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Warts, Cybèle Elaine. "Interview with Tamara Moats, Speaker on Visual Thinking and Use of Art Data." Education Libraries 31, no. 2 (September 5, 2017): 39. http://dx.doi.org/10.26443/el.v31i2.249.
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Tamara Moats was curator of education at the University of Washington's Henry Art Gallery for nineteen years where she organized programs for all ages, developed the museum’s teaching methods, and wrote extensive curricula. She now teaches art history at the Bush School Upper School and the Cornish College of the Arts, and visual thinking at the University of Washington Medical School. Moats holds a BA degree in art history from the University of Puget Sound and an MA in Asian Studies from the Claremont Graduate School.
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Murár, Tomáš. "“A work of art is an object that necessitates contemplation”. Latency of visual studies within the Vienna School of Art History?" Ikonotheka, no. 30 (May 28, 2021): 9–29. http://dx.doi.org/10.31338/2657-6015ik.30.1.
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This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. The article suggests the possible influence of Georg Simmel’s philosophy on Dvořák in this time, evident mainly in Dvořák’s interpretation of Pieter Bruegel the Elder’s art, written by Dvořák in 1920 and published posthumously in 1921. This another view on the Vienna School of Art History is then researched in writings on Pieter Bruegel the Elder by Dvořák’s students Hans Sedlmayr and Charles de Tolnay when Tolnay extended Dvořák’s thinking and Sedlmayr challenged its premises – both Tolnay and Sedlmayr thus in the same time interpreted Bruegel’s art differently, even though they were both Dvořák’s students. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today’s approaches to art (history), mainly with the so-called visual studies.
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Budnyk, A., Yu Marchenko, and M. Selivatchov. "Kharkiv Art School in the History of One Family’ Three Generations." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 107–22. http://dx.doi.org/10.33625/visnik2021.02.107.
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The present article covers the materials about studies and teaching in Kharkiv educational institutions – the predecessors of the Kharkiv State Academy of Design and Arts (KSADA), participation in the educational process during the 1920s–1950s and the creative achievements of the architect Georgy Ikonnikov (1896–1981), his stepson, printing artist Roman Selivachev (1914–1995), as well as G. Ikonnikov’s granddaughter, Yelena Ganenko (born in 1945). The oldest of our characters studied in the 1910s at the Central School of Technical Drawing (now the Saint Petersburg Stieglitz State Academy of Art and Design) in the 1910s, then participated in the Civil War and in WWI. During the 1920s and 1930s he designed about thirty Kharkiv buildings in collaboration with A. Molokin, P. Krupko, V. Bogomolov. Among his works there are such landmark objects as “Lopan Stairs”, student dormitory “Giant”, National University of Construction and Architecture (former building of the State Insurance), Research Institute of Experimental Veterinary, A. Pushkin Drama Theater, M. Skrypnyk House of Culture, etc. G. Ikonnikov taught in the art schools, headed the architectural and construction department of Kharkiv research institute for industrial projects, which created a number of important enterprises for India, China, Syria and other countries. R. Selivatchov studied at Kharkiv Art Institute (1929–1932), designed the expositions of the Svyatogorsk Museum, and later the “Kyiv-Pechersk Lavra” Reserve, and worked in printing. In 1941 the student of the Kyiv Civil Engineering Institute was drafted into the army. After the war he graduated from Moscow Polygraph Institute. The first and subsequent editions of Ukrainian Soviet Encyclopedias, branch encyclopedic reference books, “History of Ukrainian Art” in six volumes, “Dictionary of Artists of Ukraine”, “Shevchenko Dictionary”, other projects of national importance were designed under his leadership. A lot of them were awarded by the diplomas of International, All-Union and republican book competitions. Among R. Selivatchov’s followers there are graduates of Art and Architectural universities in Leningrad, Kharkiv and Kyiv, members of the National Artists’ Union of Ukraine. However, the desire to be an artist is not always realized. Encouraged by her grandfather, O. Ganenko from childhood posed for his students and dreamed of becoming an artist. One of her portraits decorated the lobby of Kharkiv Art Institute for many years. Finally, she preferred mathematics, taught at Kharkiv University, but remembers unforgettable moments related to Kharkiv Art school.
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Mashkhura Adilzhanovna Darmonova. "Khorezm school of calligraphy and its representatives." International Journal on Integrated Education 3, no. 9 (December 3, 2020): 272–77. http://dx.doi.org/10.31149/ijie.v3i9.928.
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The formation of the Khorezm school of calligraphy has a long history, and in the 16th century, schools of calligraphy and writing were formed in the palace libraries of the rulers. Since the beginning of the 18th century, the art of calligraphy has developed as an independent school. The article describes the school of calligraphy that developed in Khorezm at the beginning of the 19th-20th centuries, as well as the life and spiritual heritage of its representatives.
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Rochovská, Ivana, and Božena Švábová. "THE USE OF THE INTERPRETATION OF WORKS OF ART IN PRE-SCHOOL EDUCATION." Problems of Education in the 21st Century 79, no. 6 (December 10, 2021): 956–70. http://dx.doi.org/10.33225/pec/21.79.956.
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The research focuses on examining the use of the interpretation of works of art in pre-school education in three dimensions - the current state of the use of the interpretation of works of art, the opinions of kindergarten teachers on art, and the opportunities for kindergarten teachers to acquire knowledge about the theory and history of art in their undergraduate training or in other forms of education. The aim of the research was to determine a correlation between the aforementioned variables. 366 kindergarten teachers responded to the items of the self-constructed questionnaire. It has been proven that the current state of the use of the interpretation of works of art in pre-school education can be described as below average, the opportunities for kindergarten teachers to acquire knowledge from the theory and history of art in their pre-graduate training or in other forms of education were lower than average, and the opinions of kindergarten teachers on art can also be described as below average. There is a statistically significant positive correlation between the aforementioned dimensions of the interpretation of works of art in pre-school education. Keywords: empirical experience, kindergarten teacher, pre-school education, works of art
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Rampley, Matthew. "Art History and the Politics of Empire: Rethinking the Vienna School." Art Bulletin 91, no. 4 (December 2009): 446–62. http://dx.doi.org/10.1080/00043079.2009.10786147.
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Beech, Dave. "Book review: Utilitarianism and the Art School in Nineteenth-Century Britain, written by Malcolm Quinn." Historical Materialism 22, no. 2 (September 25, 2014): 237–56. http://dx.doi.org/10.1163/1569206x-12341358.
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Malcolm Quinn’s book,Utilitarianism and the Art School in Nineteenth-Century Britain, is an historical study of the birth pangs of the state-funded art school that interrogates the politics of art’s reproduction within the context of Victorian reformism in which the art school was proposed as a mechanism to improve the standards of taste of manufacturers and factory workers, as well as of artists, designers, art teachers and others. The review locates the political and cultural transition from the academy to the art school as the construction of a specifically bourgeois institution of art.
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Stelmashchuk, Halyna. "Department of history and theory of art of the Lviv national Academy of arts: the role of academician of the Yakym Zapasko in the creation of the Department of history of art and the dissertation Council, history, achievements, perspectives." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 4–18. http://dx.doi.org/10.37131/2524-0943-2019-39-01.
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The article is devoted to the history, achievements and prospects of the Department of history and theory of arts of Lviv National Academy of Arts. Emphasis is placed on the role of the doctor of arts, Professor, academician of Yakуm Zapasko in the creation of the graduate school, graduate Department of Historу and Theory of Art and the dissertation Committee LNAM. The publication has an informative value.
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Rajavee, Holger. "Myth. Genius. Art: The Autumn School of Department of Art History of the University of Tartu." Baltic Journal of Art History 10 (December 28, 2015): 167. http://dx.doi.org/10.12697/bjah.2015.10.08.
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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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Lewińska, Beata. "Dydaktyka historii sztuki na UKSW - refleksje praktyka dotyczące metodyki kształcenia." Artifex Novus, no. 2 (January 15, 2020): 124–35. http://dx.doi.org/10.21697/an.7832.
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Dydaktyka historii sztuki w Instytucie Historii Sztuki Uniwersytetu Kardynała Stefana Wyszyńskiego jest przedmiotem edukacji od 2001 roku. Konieczność wprowadzenia tego typu zajęć była determinowana chęcią włączenia praktycznych elementów do programu studiów w historii sztuki, co otworzyło nowe możliwości dla studentów na rynku pracy. Historia sztuki jest nauczana w szkołach artystycznych od II wojny światowej, a od 2005 roku jest przedmiotem egzaminu gimnazjalnego. W 2008 r. Ministerstwo Edukacji wprowadziło historię sztuki do szkół średnich jako dodatkowy przedmiot. Uniwersytet Kardynała Stefana Wyszyńskiego był pierwszą uczelnią w Polsce, na której wprowadzono dydaktykę i metodologię nauczania historii sztuki. Dzięki realizacji tych zajęć wraz z przedmiotami pedagogicznymi i psychologicznymi, uczniowie historii sztuki zdobywają kwalifikacje pedagogiczne i podejmują pracę w szkołach. W tym artykule przedstawiono również programy nauczania i metody ich prowadzenia.
Didactics of art history at the Institute of Art History at the University of Cardinal Stefan Wyszyński has been the subject of education since 2001. The need to introduce this type of classes was determined by the desire to include practical elements in the study program in the history of art, which will open up new opportunities for the students in the labor market. The history of art has been taught in art schools since the Second World War, and since 2005 it has been the subject of the secondary school certificate examination. In 2008, Ministry of Education introduced the history of art to secondary schools as an additional subject. Cardinal Stefan Wyszyński University was the first university in Poland where didactics and methodology for teaching art history was introduced. Thanks to the implementation of these classes along with pedagogical and psychological subjects, students of art history obtain pedagogical qualifications and take up work in schools. This article also introduces the teaching programs and methods of their conduct.
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Al-lami, Alaa H. "The Pictures of the Camel In Islamic Codex Munimnemat Al-Hariri." Al-Adab Journal 1, no. 125 (June 15, 2018): 25–36. http://dx.doi.org/10.31973/aj.v1i125.39.
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The Arabic Islamic Art had deep roots in history partly inherited by ancient traditions and cultures. Different supports were employed in artistic decoration (metalwork, ivory, glass, ceramics, etc.). The subject of this study is focused on the art of using decorations and illustrations in manuscripts, which is a feature of Arabic Islamic art. One of the most important school in writing and art of manuscripts was the Baghdad School of Illustrations
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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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Koptseva, Natalia P., Alexandra A. Sitnikova, Natalia N. Pimenova, Ksenia V. Reznikova, Anna-Sofia I. Dyomina, and Regina E. Husnullina. "RESULTS OF THE SCIENTIFIC SEMINAR "THEORY AND PRACTICE OF APPLIED CULTURAL RESEARCH" DEDICATED TO THE 570TH ANNIVERSARY OF THE BIRTH OF LEONARDO DA VINCI (SIBERIAN FEDERAL UNIVERSITY, KRASNOYARSK)." SIBERIAN ART HISTORY JOURNAL 1, no. 1 (2022): 72–109. http://dx.doi.org/10.31804/2782-4926-2022-1-1-72-109.
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This text presents a summary of the work of the educational, scientific and methodological seminar "Theories and Practices of Applied Cultural Research" (May 13, 2022, Krasnoyarsk, Siberian Federal University). The seminar was devoted to the reflection of a team of scientists on the development of the Krasnoyarsk school of art history from the 1990s to the present, and timed to coincide with the 570th anniversary of the birth of the brilliant Italian Renaissance artist Leonardo da Vinci. The seminar held in three areas - 1) Krasnoyarsk School of Art History, 2) Modern trends in the development of conceptual art, 3) Current research in Russian art.
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Qadir qızı Məcidova, Leyla, and Ləman Zahir qızı Muradova. "Nizami's heritage: the unity of art and history." SCIENTIFIC WORK 75, no. 2 (February 18, 2022): 56–60. http://dx.doi.org/10.36719/2663-4619/75/56-60.
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Məqalədə Azərbaycan lirikasının dahi nümayəndəsi Nizami Gəncəvi yaradıcılığının bədii-tarixi xüsusiyyətlərindən bəhs edilir. Burada qeyd olunur ki, Nizami Azərbaycanı bəşər tarixinə bəxş etmiş dahi şəxsiyyətdir. Şərq xalqlarının müxtəlif nümayəndələri Nizami yaradıcılığına böyük maraq göstərmiş, Nizamini öz ustadı hesab edərək sonrakı əsrlərdə onlarla “Xəmsə” yaratmışlar. Şairin yaradıcılığı sonrakı dövrdə böyük ədəbi məktəb formalaşdırmışdır. Sovet dövründə Nizami kimi böyük sənətkarın əməyinin dövlət səviyyəsində yüksək qiymətləndirilməsi ulu öndər Heydər Əliyevin müdrikliyinin bəhrəsidir. Bu gün, Nizaminin şöhrətinin, Nizami qüdrətinin qanadlarının açılmasında ümummilli lider Heydər Əliyevin xidmətləri əvəzsizdir. Ədəbi irsin qorunması qayğısına qalan dahi şəxsiyyət təkcə Nizami Gəncəvinin, Azərbaycanın klassik şair və yazıçılarının ev-muzeylərinin yaradılmasında deyil, onların xatirələrinin əbədiləşdirilməsində də böyük işlər görüb. Açar sözlər: şair, yaradıcılıq, ədəbi məktəb, mütəffəkir, irsiyyət, müdriklik, dahi Nizami, cəmiyyət Leyla Gadir Majidova Laman Zahir Muradova Nizami's heritage: the unity of art and history Summary The article discusses the artistic and historical features of the work of Nizami Ganjavi, a genius representative of the Azerbaijani lyric poetry. It is noted here that Nizami is a genius who gave Azerbaijan to human history. Various representatives of the peoples of the East showed great interest in Nizami's work, and considering Nizami as their master, they created dozens of "Khamsa" in the following centuries. The poet's work formed a great literary school in the following period. The high appreciation of the work of such a great artist as Nizami at the state level during the Soviet era is the fruit of the wisdom of the great leader Heydar Aliyev. Today, the services of national leader Heydar Aliyev are invaluable in opening the wings of Nizami's fame and Nizami's power. Taking care of the protection of the literary heritage, the genius did a great job not only in the creation of house-museums of Nizami Ganjavi, classical poets and writers of Azerbaijan, but also in perpetuating their memories. Key words: poet, creativity, literary school, great-thinker, heredity, wisdom, great Nizami, society
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Tomashevsky, Boris, Gina Fisch, and Oleg Gelikman. "The New School of Literary History in Russia." PMLA/Publications of the Modern Language Association of America 119, no. 1 (January 2004): 120–32. http://dx.doi.org/10.1632/003081204x23818.
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Anthologies of literary theory, the backbone of courses on literary criticism, rely on viktor Shklovsky's “Art as a Device” or Boris Eikhenbaum's “The Theory of the ‘Formal Method‘” to broach the subject of Russian formalism. The canonical status of these essays is well deserved. Written when the author was merely twenty-four, Shklovsky's 1917 essay bristles with a polemical fervor, wit, and knack for example that announce him as a critical prodigy. Marked by the mixture of embittered pride, rigor, and self-conscious malaise typical of later formalism, Eikhenbaum's dense history of the formal school is remarkable for its titanic effort to marry historical considerations to a systematic analysis of the evolution of key formalist doctrines.
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Trushnikova, E. L. "INTERDISCIPLINARY APPROACH AND A CULTURE OF PARTICIPATION IN THE METHODOLOGY OF TEACHING ART HISTORY." Современная высшая школа инновационный аспект, no. 2 (2022): 38–48. http://dx.doi.org/10.7442/2071-9620-2022-14-2-38-48.
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Рroblems of the content and methods of teaching Art History at higher school are discussed. The essence of interdisciplinary approach, participatory culture application, art pedagogy, museum pedagogy in involving students in participation in the formation art history course content is revealed. The survey of “Design” Bachelor students is analyzed. The survey was conducted to expand the subject themes and introduce local art themes into the content of art history content. It is concluded that participatory culture and cultural meditation can be a methodological support to introduce local themes and the ways of its study and research.
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Yang, Jiaxiang, and Gu Chen. "Causes and Solutions in Construction of the Historical Conception of Senior High School Fine Art Students." Review of Educational Theory 3, no. 3 (July 21, 2020): 31. http://dx.doi.org/10.30564/ret.v3i3.1884.
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Artistic specialty students are relatively special in high school education of our country, fine art students is one of them. This article explains the reasons for the current problems to art students in the process of constructing the conception of history, combining with the actual conditions, it tentatively proposes corresponding solutions to promote the deepening development of the history teaching of art students and the construction of the conception of history, carry out the educational requirements of “strengthening moral education and cultivating people” in the teaching process.
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Williams, Cheryl. "Genres of Art History and Rationales For and Against the Inclusion of Art History in Elementary School Curricula: A Philosophical Study Addressing Clarification and Justification Questions Regarding Art History Education." Marilyn Zurmuehlen Working Papers in Art Education 12, no. 1 (1993): 33–42. http://dx.doi.org/10.17077/2326-7070.1252.
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이주은. "Current Situation and Direction of Art History Education through the Content Structure of Middle School Art Textbooks." EDUCATIONAL RESEARCH 50, no. ll (June 2011): 287–305. http://dx.doi.org/10.17253/swueri.2011.50..011.
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O'Connell, Mary Ellen, and Sara DePaul. "Report on the Conference: Imperialism, Art and Restitution." International Journal of Cultural Property 12, no. 4 (November 2005): 487–90. http://dx.doi.org/10.1017/s0940739105050253.
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March 26–27, 2004, in St. Louis, Missouri, the Washington University School of Law's Whitney R. Harris Institute for Global Legal Studies and the School of Art hosted the Imperialism, Art and Restitution Conference. The conference brought together many of the world's leading experts on art and antiquities law, museum policy, and the larger cultural context surrounding these fields. The conference organizers chose several particularly controversial case studies to generate debate and discussion around the issues of whether Western states and their museums should return major works of art and antiquities, acquired during the Age of Imperialism, to the countries of origin. The case studies included the Elgin/Parthenon Marbles, the Bust of Nefertiti, and objects protected by the Native American Graves Protection and Repatriation Act (NAGPRA). The format produced a lively, interdisciplinary, and sometimes passionate debate that helped crystallize issues and expose complexities but certainly produced no consensus around a simple solution of return or retain.
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Krailiuk, Liubov. "Rivne Artistic Textile School : formation, evolution, personalities." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 127–39. http://dx.doi.org/10.37131/2524-0943-2019-39-08.
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Background. Since the 1960s Ukrainian artistic textile has been researched by S.Sydorovych, A.Zhuk, Ya.Zapasko, Z.Chehuseva, T.Pecheniuk, H.Kusko, Ye.Shymchuk, Z.Shulha, D.Bobiak, O.Yamborko, O.Nykorak, T.Lupii, O.Lukovska, O.Moisiuk studied regional features of folk weaving in history aspect. The fifth volume of The History of Ukrainian ornamental art published by M. T. Rylsky Institute of Art, Folklore Studies and Ethnology Institute of National Academy of Sciences of Ukraine is the important fundamental study where the researched issues are considered (2016). This volume presents the contribution of Rivne and Lviv artists Marta Tokar, Ivanna Tokar, Tetiana Lukashevych, and Olena Okhrymyk in general features. Separate aspects of Rivne artists’ creative work and school development are considered by A.Nikolaieva, N.Kosmolinska, O.Stashuk, I.Tokar etc. In modern times the complex research of Rivne art textile establishment and the issues of school development have not been presented that proves the importance of this paper. This study aims to outline social and cultural preconditions and features of Rivne Artistic Textile School establishment, give a short characteristic of its outstanding people creative work, and determine basic issues and ways of the development. The methodology is based on the complex approach including cultural, structural analysis and art study interpretation. This has provided the possibility using a system way to consider Rivne cloth art of the last decades as a complete art phenomenon. The scientific novelty concerns with regional characteristics of Rivne modern textile art. Results. Since last decades artistic textile having huge variety of its presentation has been becoming the field for new esthetic research and new point of view according to the surrounding on Rivne artistic map. This traditional ornamental branch is getting closer to pictorial art and in perfect manifestations it can even pretend to research modern social and human being conditions. The implementation and function of vocational art education were the important motivation to develop Rivne region artistic textile despite of weak institutional support especially in recent years. This paper studies beginnings and current issues of Rivne Cloth Art School becoming. New artistic senses are polished in the process of democratic competition through craftswomen creative ideas of different generations. This fact demonstrates the formation of Rivne Artistic Textile School. It is textile that is presented at international exhibitions among other kinds of arts including contribution of younger generation craftswomen. Simultaneously the author points out the issue of weak institutionalization of Ukrainian modern art on the local level. First of all it is revealed on the level of artifacts museification as the representation issue becomes the main one in the modern world. According to Rivne regional textile art the issue of centralized accumulation absence of modern works kept in artists’ studios is the most important one. This makes art utterances function more complicated for its research and interpretation. Artistic textile vocational school cooperation with Rivne Linen Factory (that existed till the 1990s) has interesting potential possibilities under the conditions of factors appearance that would let reanimate it or develop a new one. The author states that it can be the development of flax culture in Ukraine, expanding of enterprise ranges and other strategic structural initiatives. Conclusions. Rivne Artistic Textile School became the original branch of Lviv Arts and Crafts School. Focusing on regional folk weaving traditions Rivne modern craftswomen developed a new and unique artistic phenomenon characterized by the variety of its expressions in the semantic content and shape-created aspect. Rivne art-space analysis through the decentralization of artistic processes demonstrates that the leading role definitely belongs to art fabric in this process. Moreover this trend is powerful enough and artistic textile is a counterweight factor to the traditional painting centrism of Ukrainian art (including art-market). The next stage of the research aims to highlight imaginary system of separate art personalities. The study can be interpreted in such interdisciplinary aspects as cultural analysis, methodological points etc.
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 60, no. 1 (March 12, 2013): 176–79. http://dx.doi.org/10.1017/s0017383512000344.
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The front cover of John Bintliff's Complete Archaeology of Greece is interesting. There is the Parthenon: as most of its sculptures have gone, the aspect is post-Elgin. But it stands amid an assortment of post-classical buildings: one can see a small mosque within the cella, a large barrack-like building between the temple and the Erechtheum, and in the foreground an assortment of stone-built houses – so this probably pre-dates Greek independence and certainly pre-dates the nineteenth-century ‘cleansing’ of all Byzantine, Frankish, and Ottoman remains from the Athenian Akropolis (in fact the view, from Dodwell, is dated 1820). For the author, it is a poignant image. He is, overtly (or ‘passionately’ in today's parlance), a philhellene, but his Greece is not chauvinistically selective. He mourns the current neglect of an eighteenth-century Islamic school by the Tower of the Winds; and he gives two of his colour plates over to illustrations of Byzantine and Byzantine-Frankish ceramics. Anyone familiar with Bintliff's Boeotia project will recognize here an ideological commitment to the ‘Annales school’ of history, and a certain (rather wistful) respect for a subsistence economy that unites the inhabitants of Greece across many centuries. ‘Beyond the Akropolis’ was the war-cry of the landscape archaeologists whose investigations of long-term patterns of settlement and land use reclaimed ‘the people without history’ – and who sought to reform our fetish for the obvious glories of the classical past. This book is not so militant: there is due consideration of the meaning of the Parthenon Frieze, of the contents of the shaft graves at Mycenae, and suchlike. Its tone verges on the conversational (an attractive feature of the layout is the recurrent sub-heading ‘A Personal View’); nonetheless, it carries the authority and clarity of a textbook – a considerable achievement.
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Smirnova, Ekaterina. "Dostoevsky and Antiquity: Classical Education at the L. I. Chermak Boarding School." Неизвестный Достоевский 8, no. 2 (July 2021): 5–33. http://dx.doi.org/10.15393/j10.art.2021.5441.
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The article attempts to identify the classical linguistic and cultural context of F. M. Dostoevsky's education at the L. I. Chermak boarding school. It lists the programs and textbooks that Dostoevsky studied in 1834‒1837 to learn about the intricacies of classical languages and ancient history, and the teachers who may have influenced his perception of ancient history and culture. Using the issues of the “Biblioteka dlya chteniya” (Library for Reading) journal, the authors investigate which texts related to classical antiquity were available to Dostoevsky outside of the curriculum. The period of Dostoevsky's studies at the Chermak boarding school can be characterized as extremely favorable for the assimilation and comprehension of ancient heritage. The reason for this is the emphasis on classical languages in education set by government decisions, successfully augmented by the brilliant teaching staff at the boarding school, i. e., K. M. Romanovsky, N. I. Bilevich and A. M. Kubarev, Dostoevsky saw Greco-Roman antiquity not as a boring and tiresome collection of dead forms, but as a source of fantasies, reflections, comparisons, and sublime ideas. The publications in Library for Reading on history and archeology, literature and art of Ancient Greece and Rome revealed antiquity in a multi-faceted manner, taking the teenager inclined to serious reading far beyond the school curriculum into the world of stunning discoveries, sharp scientific controversy, bold comparisons with modern times and vivid artistic images.
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Wolffenbüttel, Cristina Rolim, and Lucas Pacheco Brum. "Art Curriculum: Reflections, Discussions, and Concerns." International Journal of Social Science Studies 8, no. 2 (February 12, 2020): 55. http://dx.doi.org/10.11114/ijsss.v8i2.4715.
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This essay problematizes the resistance processes present in art school curricula. Some curricula are legitimized by the constant emphasis on sequentiality and chronological succession grounded in the history of art, which often comes only from a scholarly conception centered on the work and life of consecrated artists over the centuries, or rereading of works of art. Besides that most of the school curricula are guided by textbooks that legitimize the continuity of these practices, privileging elitist, ideological, sequential aspects that may exclude other artistic manifestations. There is an imposition of good or bad art. There are several discourses in Art that can produce operations and subjectivations of bodies in and out of school, demanding new ways for subjects to be in and out of the classroom in order to produce resistance in curricula and school spaces as a whole. This essay calls these processes urgencies. It is understood that these urgencies are in conflict and have the power to create reliefs with what is legitimized by the school system as a curriculum in Art. In this process, there is a flow of forces between what is put, the status quo and the urgencies, implying lifestyles, aesthetic choices and the construction of discourses, people, bodies, as well as attitudes, actions and ways of walking, speak and behave, that is, ways of managing life that operate in the processes of subjectivation. This essay deals with the resistance that permeates the art curriculum at school, in view of the curricular conceptions already legitimized by the system.
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VAN OS, H. W. "New borderlines for art history." European Review 12, no. 2 (May 2004): 159–64. http://dx.doi.org/10.1017/s1062798704000158.
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European Art History steadfastly continues to classify artistic production according to national schools. This system of categorization inevitably leads to defining the national character of a people through its art. This is not to deny that regional differences are important in European art history. However, for the most part, regional differences have little to do with nations as such – if only because these nations were usually created long after the work of art in question, which is being used to assert national characteristics. Far more serious, however, is the fact that by assessing national divergences, the similarities between works of art from different regions of Europe fall into second place. During the past few years, Dutch art historians have become increasingly aware of the importance of the European dimension when studying the art of the Low Countries. But this new research will only produce important results when it goes hand in hand with a fundamental reconsideration of art history and nationalism.
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Scalissi, Nicole, Alison Langmead, Terry Smith, Dan Byers, and Cynthia Morton. "Curatorial Practice as Production of Visual & Spatial Knowledge: Panel Discussion, October 4, 2014." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 143–57. http://dx.doi.org/10.5195/contemp.2015.151.
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The following is a transcription of a conversation between curators of art, science, and digital data about how their practice creates knowledge in their respective fields. Drawn from Pittsburgh’s rich institutional resources, the panelists include Dan Byers, (then) Richard Armstrong Curator of Contemporary Art, Carnegie Museum of Art; Dr. Alison Langmead, Director, Visual Media Workshop, Department of History of Art and Architecture, and Assistant Professor, School of Information Scienes, University of Pittsburgh; Dr. Cynthia Morton, Associate Curator of Botany, Carnegie Museum of Natural History; and Dr. Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, University of Pittsburgh. Moderated by Nicole Scalissi, PhD candidate, Department of History of Art and Architecture, University of Pittsburgh. The panel took place as a part of Debating Visual Knowledge, a symposium organized by graduate students in Information Science and History of Art and Architecture at the University of Pittsburgh, October 3-5, 2014. The transcription has been edited for clarity.Curatorial Practice as Production of Visual & Spatial Knowledge
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Sapha Wangam Apanthoi M, Yumnam. "SUBIKA ART: AN EARLY VISUAL ART FORM OF MANIPUR." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (June 20, 2022): 437–51. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.126.
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There are six surviving manuscripts under the category of Subika namely Subika, Subika Achouba, Subika Laishaba, Subika Choudit, Subika Cheithil, and Thengrakhel Subika. For this paper the manuscript “Subika Laishaba'' has been discussed. Illustration of Subika Laishaba is the manuscript painting among the earliest surviving visual arts forms of Manipur. Though the advent of Subika Laishaba paintings has lately acquired from various individual collections, the painting possesses an interesting area of studying its visual elements and cultural values of Meitei community. The painting of Subika Laisaba is a composition of cultural motifs made by pre-existing features and other influences stimulated from their cultural worldviews. Such cultural ethics of scriber makes them to create a unique style seen as indication of establishing a thought of school in which cultural and regional features are highlighted. Subika Laishaba manuscripts represent the direct and authentic continuation of the tradition of Meitei cultural life projected through visual images. Though there is no particular founder mentioned in the royal chronicle/history known as Cheitharol Kumbaba, there may be a possibility that the art form may have existed when the writing tradition was introduced in the state. This paper is an attempt to study its purposes and visual language portrayed in the Subika Laishaba manuscripts to understand its school in the realm of visual art. This study of visual language may be able to work without judgment and self-criticism.
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Vaughan, Sian. "Art and sonic mining in the archives: methods for investigating the wartime history of Birmingham School of Art." History of Education 47, no. 2 (January 17, 2018): 225–40. http://dx.doi.org/10.1080/0046760x.2017.1420244.
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Gelburd, Gail. "John Sloan's Veiled Politics and Art." Journal of the Gilded Age and Progressive Era 7, no. 1 (January 2008): 69–88. http://dx.doi.org/10.1017/s1537781400001730.
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During the 1909 New York mayoral campaign, the Socialist newspaper, the New York Call, published a series of seven political cartoons signed by Josh Nolan. Analysis of the subject and style of these cartoons suggest that the signature on them was an anagrammatic pseudonym for painter John Sloan, a leading figure of the Ash Can School and later art director for the Masses. Sloan confirms this in his diary, which provides the reader with evidence of the painter's inclination to use anagrams and fictitious names. The cartoons document a forgotten aspect of the artist's career and reveal many of his political and aesthetic influences. The images also explicate Sloan's personal political commitments and the origins of his later unique imagery. This essay examines Sloan's early cartoons, while questioning why Sloan would choose to hide his identity when creating images for the New York Call.
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Nenakhova, Yuliya N. "Siberian Scientific School of Prehistoric Art Founded by Academician A. P. Okladnikov." Archaeology and Ethnography 18, no. 7 (2019): 19–41. http://dx.doi.org/10.25205/1818-7919-2019-18-7-19-41.
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Purpose. One of the most important research areas studied by A. P. Okladnikov was prehistoric art, in particular its origin and correlation with the concept of “aesthetic beginning”, as well as issues of ancient art development and a number of other related aspects. Siberian scientific school of prehistoric art founded by academician A. P. Okladnikov has already made a significant contribution to the study of prehistoric art on a worldwide scale. Results. A. P. Okladnilov’s scientific interest in prehistoric art issues formed at the beginning of the 1960s, when he moved to Akademgorodok in Novosibirsk. The scientific school was formed on the basis of the Institute of History, Philology and Philosophy of SB RAS. A group of scientists from the institute organized a team which started to develop projects in several aspects: a) studied specific issues of the research program based on the leader’s ideas; b) provided training for specialists; c) organized and coordinated efforts of different research groups studying prehistoric art issues. Conclusion. Academician A. P. Okladnikov is an outstanding Soviet archaeologist, historian and anthropologist, an initiator and the first Director of the Institute of History, Philology and Philosophy of the AS in the USSR (currently the Institute of Archaeology and Ethnography of SB RAS), which was founded in 1966. Ancient history aspects under investigation at those times included the study of initial human settlements and the spread of Paleolithic traditions on the Asian continent, old cultural ties between Asia and America, ethnogenesis and early history of indigenous Siberian and Far Eastern peoples and their inclusion into the Russian state, the formation of Russian culture in Siberia and many others. A. P. Okladnikov organized a series of archaeological expeditions, and the geography of his Siberian expeditions covered a vast region from the Ural Mountains in the west to the Pacific Ocean in the east, from the Arctic Ocean in the north to Central Asia in the south. Dozens of talented researchers followed A. P. Okladnikov and made important archaeological discoveries. Their research areas cover a wide range of topical issues. Today it is the students of this researcher who largely determine the vector of archaeological development.
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Skov, Marie Arleth. "The 1979 American Punk Art dispute: Visions of punk art between sensationalism, street art and social practice." Punk & Post-Punk 9, no. 3 (November 1, 2020): 443–66. http://dx.doi.org/10.1386/punk_00061_1.
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In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical backgrounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.
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Lummis, Geoffrey William, Julia Elizabeth Morris, and Graeme Lock. "The Western Australian Art and Crafts Superintendents’ advocacy for years k-12 Visual Arts in education." History of Education Review 45, no. 1 (June 6, 2016): 115–30. http://dx.doi.org/10.1108/her-12-2014-0045.
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Purpose – The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development. Design/methodology/approach – A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period. Findings – This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987). Originality/value – The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.
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Kolganova, A. A. "From the History of Holdings of the Russian State Art Library." Bibliotekovedenie [Library and Information Science (Russia)], no. 2 (April 28, 2014): 48–53. http://dx.doi.org/10.25281/0869-608x-2014-0-2-48-53.
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The paper describes the history of formation of Collections of the Russian State Arts Library (RSAL) as a Special Library, which Mission is Library and Information Services in the filed of Arts and Culture. The main attention is devoted to the Theatre Collections, because the library was founded as a School Library at the Academic Maly Theatre and for many years it functioned as the Central Theatre Library of the country.