Tesis sobre el tema "Tervuren school of painting"
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Haidar, Navina Najat. "The Kishangarh school of painting, c.1680-1850". Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319068.
Texto completoNallicheri, Renu Agawal. "Automotive painting--an economic and strategic analysis". Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/12304.
Texto completoOlander, Marilyn V. "Painting the Voice: Weblogs and Writing Instruction in the High School Classroom". NSUWorks, 2007. http://nsuworks.nova.edu/gscis_etd/757.
Texto completoFang, Hui. "Sesshu Toyo's Selective Assimilation of Ming Chinese Painting Elements". Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12984.
Texto completoFeijoo, Manuel. "Vertical School of Art". Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23104.
Texto completoCubism challenges our perception of depth, our tactile sense, our ideas of proportion. Cubism, as a 20th century movement, was in continuous exploration of the senses. Cubists challenged the conception of art, and consequently shaped and influenced many social movements of their time.
Like any human expression, art and architecture are in a continuous evolution. Both share the pursuit of perfection, the exploration of spatial, sensorial, and emotional feelings. Both are a part of us.
With all of these ideas in mind, I started to investigate and explore the idea of a skyscraper that would house an art school. Where the building and its inhabitants will contribute to its surroundings of the school.
There is the challenge of programing the art school into a vertical configuration and at the same time, this challenge offers the possibility of discovery for new organization of the school as a vertical world.
Master of Architecture
Murphy, Michele P. "Colour choice and exploratory behaviour in the easel painting of nursery school children /". Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsm978.pdf.
Texto completoWang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.
Texto completoWilson, Jeffrey Allen. "Conceptual relations of architecture, painting, color, and education and their application in an elementary school". Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53430.
Texto completoMaster of Architecture
Visagie, Ashley. "Painting a picture of possibility: the transmission of symbolic violence in an urban township school". Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30995.
Texto completoKennedy, Froukje Margaret. "An investigation of a portfolio model for assessing the elementary school dance class". Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1138914852.
Texto completoAdvisors: Vera J. Blaine, Dept. of Dance and Judith S. Koroscik, Dept. of Art Education. Includes bibliographical references (leaves 153-154). Available online via OhioLINK's ETD Center
Guardiano, Nicholas. "Transcendentalist Aesthetics in Emerson, Peirce, and Nineteenth-Century American Landscape Painting". OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/914.
Texto completoAli, Wijdan. "A survey of modern painting in the Islamic world and the development of the contemporary calligraphic school". Thesis, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365462.
Texto completoChen, Hsiu-Hsiung. "The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan". FIU Digital Commons, 1996. http://digitalcommons.fiu.edu/etd/2131.
Texto completoЗякун, Алла Іванівна, Алла Ивановна Зякун y Alla Ivanivna Ziakun. "Іконописна школа Києво-Печерської Лаври ХІХ ст". Thesis, Сумський державний університет, 2019. https://essuir.sumdu.edu.ua/handle/123456789/77153.
Texto completoCao, Maggie M. "Episodes at the End of Landscape: Hudson River School to American Modernism". Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11535.
Texto completoHistory of Art and Architecture
Woodger, Jeff Robert University of Ballarat. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)". University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12791.
Texto completoDoctor of Philosophy
Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)". Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38512.
Texto completoDoctor of Philosophy
Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)". University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15614.
Texto completoDoctor of Philosophy
Kim, Sangah. "Western-style Painting in Pan-Asian Context: The Art and Historical Legacies of Kuroda Seiki, Li Shutong, and Go Hui-dong, 1889-1916". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20672.
Texto completoHo, Eliza. "From xin guohua (new national painting) to the founder of the Lingnan School : transformation of the representations of Gao Jianfu and his art by a regional discourse". Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1232554641.
Texto completoCastelló, Palacios Amparo. "De la tabla al lienzo. Evolución técnica del soporte pictórico en la Escuela Valenciana del Renacimiento pleno al naturalismo barroco". Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/162071.
Texto completo[EN] For being considered a crucial period inside the painting of the Valencian school, the study of the transition between pictorial supports in the step of the wooden panel to the canvas is worthy of a rigorous research. The contribution of a range of painters to this technical evolution in the Valencian artistic panorama will mark the production of later centuries, perpetuating a new way of painting on canvas that will not finish completely replacing the traditional painting on panel. A series of technical and material particularities will accompany this change, since in their eagerness to embrace the new pictorial resources, the masters of Valencian painting of the 16th century and two first thirds of the 17th will introduce new procedures and materials in their masterpieces. At the same time, the artistic sensibility of the moment will veer from the fully Renaissance Juanes'deep-rooted tradition, towards naturalism and the search for the immediate reality that arose in València with the arrival of Juan Sariñena and Francisco Ribalta. Deepen the knowledge of the magnitude of this technical and stylistic change from several approaches but mainly from the scientific one, thanks to access to a set of paintings that include the production from Juan de Juanes to that of Jerónimo Jacinto de Espinosa, has allowed to reconstruct the way of working of the main painting workshops of this period. Indeed, the scope of this study would not have been possible without extensive work review of the artistic literature, being the traditional treatises, manuals and recipe books of painting key references in the interpretation of the data that scientific method offers. The contributions that provide this research not only confirm the grandeur of this stage of Valencian painting, but at once they constitute themselves as a solid support on which to base new authorships and attributions and make the enhancement for the conservation of our pictorial heritage.
[CA] Per considerar-se un període crucial dins la pintura de l'escola valenciana, és digne d'una rigorosa investigació l'estudi de la transició entre suports pictòrics en el pas de la taula al llenç. La contribució d'un ventall de pintors a aquesta evolució tècnica en el panorama artístic valencià marcarà la producció dels segles posteriors, i perpetuarà una nova forma de pintar sobre llenç que no terminarà de reemplaçar per complet la tradicional pintura sobre taula. Una sèrie de particularitats tècniques i matèriques acompanyaran aquest canvi, ja que en el seu afany per abraçar els nous recursos pictòrics, els mestres de la pintura valenciana del segle XVI i dos primers terços del XVII introduiran nous procediments i materials en les seues obres. Alhora, la sensibilitat artística del moment virarà des de l'arrelada tradició joanesca plenament renaixentista, cap al naturalisme i la cerca de la realitat immediata que sorgirà a València amb l'arribada de Joan Sarinyena i Francesc Ribalta. Profunditzar en el coneixement de la magnitud d'aquest canvi tècnic i estilístic des de diversos enfocaments però principalment des del científic, gràcies a l'accés a un conjunt de pintures que comprenen la producció des de Joan de Joanes fins a la de Jeroni Jacint d'Espinosa, ha permés reconstruir la manera de treballar dels principals tallers de pintura d'aquest període. En efecte, l'abast d'aquest estudi no hauria sigut possible sense una extensa labor de revisió de la literatura artística, sent els tradicionals tractats, manuals i receptaris de pintura referències clau en la interpretació de les dades que el mètode científic ofereix. Les aportacions que brinda aquesta investigació no sols confirmen l'esplendor d'aquesta etapa de la pintura valenciana, sinó que alhora es constitueixen com un suport sòlid sobre el que fonamentar noves autories i atribucions i la posada en valor per la conservació del nostre patrimoni pictòric.
La tesis doctoral que aquí se presenta fue llevada a término gracias a una serie de ayudas que han sido indispensables para esta investigación. En primer lugar, la concesión de una beca de carácter predoctoral con una duración máxima de tres años (01/07/2014 - 30/06/2017) integrada dentro de las Ayudas para la contratación de personal investigador de carácter predoctoral, programa VALi+d (DOCV núm. 7081/02.08.2013) financiadas por la Consellería de Educación, Cultura y Deporte de la Generalitat Valenciana. Por otra parte, los estudios analíticos derivados de este trabajo se incluyen en el marco del proyecto de investigación del Ministerio de Economía, Industria y Competitividad (MINECO) CTQ2014-53736-C3-01-P sobre la Aplicación de las técnicas nanoelectroquímicas y biotecnologías en el estudio y conservación del patrimonio en metal, cofinanciado con fondos FEDER y adscrito al Programa Estatal de Fomento de la Investigación Científica y Técnica de Excelencia, Subprograma Estatal de Generación del Conocimiento.
Castelló Palacios, A. (2021). De la tabla al lienzo. Evolución técnica del soporte pictórico en la Escuela Valenciana del Renacimiento pleno al naturalismo barroco [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/162071
TESIS
Litwinowicz, Michel. "Rome et Naples, deux écoles de nature morte au XVIIe siècle et leurs échanges". Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP034/document.
Texto completoThe Roman and the Neapolitan school of still-life painting are in 17th Century among the most important in Europe. During the whole Seicento, these two schools are closely tied and produced a large amount of paintings of flowers, fruits, vegetables, fishes, game, woodland Scenes (sottoboschi)… This PhD analyses the evolution of still-life painting in Rome and in Naples and places it in the numerous stylistic and cultural exchanges between these two capitals. The place of still-life painting in the art market (circulation of works, merchants, prices, appraisals) and in the collections is studied. The Patrons’ taste for these pictures is examined. We carry out stylistics comparisons between works by Mario dei Fiori and Paolo Porpora, Michelangelo Cerquozzi and Giovanni Battista Ruoppolo or Giovanni Battista Recco and Gian Domenico Valentino. We also investigate the role of Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci and Andrea Belvedere
Festino-Cassata, Rafaella. "Les voies de la mélancolie et de la création chez Chaïm Soutine, le "violeur de couleurs" : radioscopie d'un acte de peinture". Thesis, Nice, 2013. http://www.theses.fr/2013NICE2036.
Texto completoChaïm Soutine appears to many as one of the most enigmatic painters of the Paris School. He finds his own place in this moment of artistic rupture that initiates the 20th Century and carries well despite of him the banner of expressionism and Jewish art. However the requirement for this « act of painting » ( cf. Daniel Arasse) goes far beyond any claim of belonging to a any community. It is the pace of his life of exile and renegade he lodges on the space of the canvas in a moment of paint which pierces and in a gesture of colour which animates him. This last cursed painter links his vocation of painting to a native traumatic scene and to the expression of an unfinished cry. This scene echo to a structural melancholy that carries him on one and the other of the two banks of the river Styx and makes him face to the emptiness of the Thing. This confrontation will be various issues: he will become so either genius or assassin of his paintings
Ahmadi, Bahram. "L'enseignement universitaire de la peinture en Iran : problèmes et influences". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10077.
Texto completoThe classical Persian painting lost some of its characteristics by opening up to the occidental painting. In the Qajar era, thanks to the cultural and social changes, a new painting was born with its new teaching methods. Thus the art of painting got divided into “minor art” and “major art”, each of them being taught in a different way. The realistic painting as a manifestation of the “major” art was first practiced in Ṣanīʿ-al-Molk art school, then in Dār al-Fonūn school and finally in Kamāl-al-Molk art school which in 1940, became the Faculty of Fine Arts. The students were studying both Kamāl-al-Molk style and some European styles, but incompletely. At the same time, the miniature, that is to say the “minor art”, was encouraged so that it represented the splendour of ancient times. In this process the Office of culture and art paid special attention to “miniature” as traditional painting. That is the reason why it has been taught in Secondary School of Fine Arts, descended from “Ancient Crafts School”. From 1330s to 1950s, this administration has established the Faculty of Decorative Arts and the Biennale of Tehran. Subsequently, the painting has turned more intensely towards modern occidental art, using at the same time the visual effects of traditional Iranian artistic creation. At that time when the educational system at the Faculty of Fine Arts was going through changes, the painters of Iran got divided into two groups: supporters of occidental painting and neo-traditionalists. The latter, in order to find their own identity, use some traditional elements applying, at the same time the methods of modern art. The supporters of the occidental styles started with figurative painting of the expressionist style and ended up in abstract art. They freed themselves from the constraints of the traditions and symbols of Iranian identity. On the other hand, in order to continue to exist as so called “traditional painters”, the miniaturists use only the parameters of realistic art. However, when the university graduates, the modern painters wanted to express their cultural identity, they used the elements of the art of miniature
Muirhead, Anna. "Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /". Conceptual Art Online- Anna Muirhead - About, 2008. http://www.imageandtext.org.nz/anna_m_about.html.
Texto completoThesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.
Langley, Jessica Danielle. "THE AWW". VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1360.
Texto completoPanbehchi, Michael J. "The Triumphs of Alexander Farnese: A Contextual Analysis of the Series of Paintings in Santiago, Chile". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3628.
Texto completoDochy-Jacquard, Amélie. "Cliché, compassion ou commerce ? : les représentations des Irlandais par le peintre écossais Erskine Nicol, de 1850 à 1900". Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20100.
Texto completoAfter a stay in Ireland between 1846 and 1850, the Scottish painter Erskine Nicol (1825-1904) represented the Irish in most of his artworks. He was particularly successful at the Royal Scottish Academy (Edinburgh), and at the Royal Academy (London). This work investigates the reasons for his popularity, using methods that are mainly derived from cultural studies, and showing that Nicol adapted the scientific prejudices of his time, as well as the clichés on the Irish, in order to create his iconography of Ireland. Beyond his flattering portraits of Irish peasant girls, Nicol painted numerous caricatures suggesting that he complied with prevalent imperialist ideas. Yet, his paintings are ambivalent: a few canvases, highlighting the injustices generated by the British regulation of Ireland’s agricultural system, convey the painter’s compassion. This questioning of British authority through painting, a highly codified artistic genre, was enabled by Nicol’s style, inspired by the Dutch Old Masters, by the artworks of David Wilkie (1785-1841), by the Scottish School, and by social realism, an artistic movement which had an important influence on Nicol’s narrative painting. However, his realism was limited because he needed to sell his paintings to survive. This work will try to understand his motivations and to see if they were linked to his fondness for stereotypes, to his compassion for the Irish or to his commercial ambitions. The circulation of his artworks in local and international exhibitions was made easier by the work of art dealers, who invested in Nicol’s canvases and in their reproductions. Thus, thousands of prints reproducing his artworks between the 1850s and his death in 1904 made Nicol a major artist of the Victorian era
Bonney, Geoffrey y Peter Alan Widmer. "Cherbourg time : young black and deadly art 2003-2007". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/34407/1/Geoffrey_Bonney_%26_Peter_Widmer_Thesis.pdf.
Texto completoPan, Tsung-Hao y 潘琮皓. "Non-photorealistic Rendering : Interactive Chinese Painting of Yangzhou School Painting". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8s973d.
Texto completo國立臺灣科技大學
資訊工程系
106
We proposes a system that automatically generates Chinese painting style animation based on three-dimensional scenes. The system focuses on the rapid conversion of Chinese painting styles for 3D models, as a way to improve the consumption of human resources in Chinese painting animation production. In the system, the style conversion of the three-dimensional koi model is first carried out. We focus on the koi painting style of the new Yangzhou school representative painter Zheng ming Wang. First, we preprocessed the Chinese painting style brush strokes by the Navier Stokes Equation. Then uses the method of Suggestive Contour and Field Design Using Harmonic Functions to automatically find the contours and fin stripes from the 3D model. Next, we automatically generates watercolorized model texture using Level-of-Detail Abstraction. Finally we uses Repeat Texture Pattern to automatically generate scale maps, and completes the conversion of 3D model to 2D Chinese painting style. In the part of the interactive Chinese painting style scene design, the system automatically renders other 3D models into the Chinese painting style through the method of Modified Toon Shader and Texture Watercolorization. In addition, the dynamic effects simulated by the Navier Stokes equation are used for ink stroke simulation. It can be automatically generated by the user inputs. Finally, our system integrates the Mass-Spring Model Ripple Simulation and the Navier Stokes equation for dynamic water flow simulation and creates interactive ripples in Chinese painting animation.
Chang, Hsin-Yi y 張欣怡. "The Synthesis of Lingnan School Painting". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/54823401418249993769.
Texto completo國立交通大學
資訊科學與工程研究所
94
Since the beginning of twentieth century, the Lingnan School Painting is an important Chinese Ink Painting school. It's characteristic is based on the traditional Chinese Painting skill and Combined the skill of the western drawing. The subject matter of the Lingnan Painting is widespread, and it contains Birds and Flowers Painting, Beast Painting, Insect Painting and Fish Painting, etc. In this thesis, we focus on the embroidered fish drawing in the Lingnan Painting. Input a photo of embroidered fishes, we apply the brush strokes to the outline and simulate the water and pigment diffusion effects on paper to imitate washing skill. Therefore, user may generate the Lingnan Painting style easily without familiar with the complicated painting skills.
徐煥光. "A study of Ling-nan school painting". Thesis, 1990. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22079CHU00045003%22.&searchmode=basic.
Texto completoYang, Li. "Mirroring the Wu School: Ma Shouzhen's Orchid Painting". Master's thesis, 2010. http://hdl.handle.net/10048/1495.
Texto completoEast Asian Interdisciplinary Studies
Wu, Kung-Chun y 吳侊峻. "The Painting of Jiaxing School in Qing Dynasty". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/74812446624586510437.
Texto completoHuang, Chung-Chih y 黃崇智. "Digital Classroom Environment for supporting painting course in elementary school". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/39450868549519264414.
Texto completo元智大學
資訊工程學系
94
Art education plays an important role in the mental development of children. It could not only make children develop the potential they already have but also help the integrity of their personality development. Hence, art education is significantly involved in the basic education of children. However, the visual arts class in the field of arts and humanities in the strategy of nine-year joint curriculum brings about some problems between teachers and students because of the system and of the real situation: the confinement of a teacher who demonstrates to students how to do something in a traditionally teaching way, the property of traditionally teaching media, and the problems for students to discuss, inspect, and then learn from other students’ works among themselves. In this study, I design a Digital Classroom Environment (DCE) where Table PC, wireless lanes, a software system, and the arrangement of course contents are integrated in order to offer learning assistance to teachers and students. In addition, this Digital Classroom Environment (DCE) could lessen the difficulties which are faced by a teacher when he or she is teaching in a visual arts class. Moreover, it could make students learn more effectively. One teacher and five students in the grade five of an elementary school are taken as subjects in this study. Then I put the system of my study into practice in the Digital Classroom Environment (DCE) in the art curriculum. Moreover, the content of this experimental class is sketching. As for in the aspect of the response of teachers and students, they confirm the value of the Digital Classroom Environment (DCE) in art education.
"Hyper Real: Painting And The Synthetic Image". Tulane University, 2014.
Buscar texto completoChen, Shu-Chen y 陳淑貞. "A Study on Image of Famous Painting—by Elementary School Students". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/23825757876121817808.
Texto completo大葉大學
設計暨藝術學院碩士在職專班
99
This research took ten westerrn painters’ masterpieces as research object, and conducted questionaire upon elementary school students using image diction, in order to find out what elementary school students felt about painting works. This research was done with ten western painters’ works, semantic difference method, eight sets of image adjectives, and five grade overall scale to complete evaluation. The research was concluded with SPSS 12.0 statistic analysis software to show what elementary school students felt about painting works. The followings were the research conclusion: 1. Although in compulsory elementary school education there were art and humanity classes, very few students attended after-school talent classes. This indicated that the respondent family payed little attention on art education. 2. The vocation of students’ parents and time students spent on after-school talent classes contributed to the differences of aesthetic recognition development. This showed that family education’s influence was more prominent than school education in recognition development. 3. About the works of Sula, Cezanne, and Miller, students demonstrated their preference in image of likeness, beauty, cuteness, abundance, and affability. In contrast, the abstract works of Picasso, Gauguin, and Layton made students feel of dislik, ugliness, and vulgarity. These corresponded to the second stage of aesthetic development in evaluating painting works only with “likeness”, “realism”, and “exquisite skill”.
蔡芳宜. "Explore the Primary School Students’ Cognitions about Ocean Concepts from Painting". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/qpa5ap.
Texto completo國立高雄師範大學
科學教育暨環境教育研究所
106
The intention of this research was to investigate the ocean concept of elementary school students with their drawing. The objects of the research were the students of the 14 elementary schools in southern Taiwan cities (Kaohsiung, Pingtung and Taitung). The method used in this research was questionnaire survey. Through in-depth interviews and ocean concepts questionnaires (children’s drawing paper), the purpose of study is to understand that association between demographic characteristics (gender, grade, waterfront area, urban or suburban) and elementary school students’ ocean concepts. The ocean concept questionnaire (drawing paper) required students to finish drawing “ocean that you know” in 30 minutes, and give a title and describe their own ocean concepts and experience afterwards. A total of 30 valid Semi-structured in-depth interview questionnaires and 800 ocean concepts questionnaires were acquired. Data were analyzed through SPSS(Statistical Package for Social Science)and the statistical approaches used in this research included cross tabulation and Chi-square test. Chi-square tests were used to analyze the differences between demographic characteristics and ocean concepts. The results showed that only “habitation (waterfront areas or not)” was statistically significant, which meant place of residence was related to children’s ocean concepts. Children lived in non-waterfront areas were higher in the cognition of “natural ocean” category, while children lived in waterfront areas were higher in the cognition of “concious ocean” category. No matter the children lived in waterfront areas or non-waterfront areas, they were all higher in the cognition of “natural ocean” than “concious ocean”. Under these circumstances, we knew that children’s ocean concepts were mainly about concrete marine resources and marine ecology, abstract ocean concepts (marine conservation, marine exploiting and marine culture) were obviously insufficient, which may take a substantial period of time to cultivate. The in-depth interviews found that students' cognitions of "natural oceans" were generally high, but the cognitions of "conscious oceans" were generally inadequate, especially the cognitive aspects of "marine culture." Based on the investigation and analytical results of this study, relevant opinions and suggestions were proposed. It is hoped that the research could serve as reference for the promotion and follow-up research of Marine Education Course in the future.
Finkel, JANA. "GERRIT DOU’S VIOLIN PLAYER: MUSIC AND PAINTING IN THE ARTIST’S STUDIO IN SEVENTEENTH-CENTURY DUTCH GENRE PAINTING". Thesis, 2008. http://hdl.handle.net/1974/1480.
Texto completoThesis (Master, Art History) -- Queen's University, 2008-09-24 23:56:10.869
YI-JEN, WANG y 王依仁. "A Study on Imagination in Painting of Senior Graders in Elementary School". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/96356880130508476080.
Texto completo國立新竹教育大學
藝術教育與創作碩士班
99
This study aims to illustrate how imagination functions in the painting of sixth graders in elementary school. 35 sixth graders are assigned to keep track of their creative experiences while doing eight pieces of imaginative painting. The process, the pattern, the characteristics of imaginative activity and the factors affecting imagination are observed and analyzed. The results of this study are listed as follows: 1. The implementation of imagination in the creative painting of sixth graders is divided into three phases: (1) inception of imagination, (2) modification of imagination and (3) termination of imagination. Imagination is implemented either through divergent thinking—generating creative ideas by exploring many possible solutions, or through convergent thinking—following a particular set of logical steps to arrive at a correct solution. 2. Imagination applied in the creative paintings of sixth graders is characterized by association by external similarity with relational thinking and creative recombination of existing elements. Those paintings are infused with popular cultural elements, such as cartoon, games and TV programs. 3. There are internal and external factors affecting imaginative activity. 4. Whether the topics assigned are limited or open shows different levels of influence on sixth graders’ interpretations of imagination. They make the most obvious differences in the patterns of thinking and in the disparity between imagination and the actual works created.
CHUNG, CHIA-CHUN y 鍾佳君. "The Effect of Mandala Painting on Junior High School Students with Emotional Disturbance". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/80780758394423904096.
Texto completo國立高雄大學
運動健康與休閒學系碩士在職專班
105
Art therapy is a creative method of expression used as a counseling and guidance technique. Through creating art and reflecting on the art products and processes, people can increase self-awareness and improve their physical and mental well-being. Mandala painting is simple and easy to use, is spontaneous, does not require special training, and is not affected by cultural differences, it is often regarded as the intervention of art therapy. Schools can use mandala painting to help emotional distress students, while allowing students enjoy the fun of life. The purpose of this study is to evaluate the effects of mandala painting on students with emotional disturbance. A quasi-experimental design was conducted using a single group, pre- and post-test. Eight students who were identified by counseling office of a junior high school of Kaohsiung underwent art activity intervention. The intervention lasted for 12 weeks, once per week, and 45 minutes per week. Data were collected before, during, and after the intervention. Zheng’s (2002) revised version of Scale for Assessing Emotional Disturbance (SAED), including 5 dimensions with 39 items, was used as an evaluation measurement. Wilcoxon symbol level test was used to analyze whether there was a significant difference in the pair of sample scores of SAED. In-depth interview with identified students and their mentors were conducted at the end of the intervention to further understand the effect of the intervention. The results showed that the total score of SAED were found a decreasing trend during intervention process. In addition, the scores of five major dimensions of "no ability to study", "interpersonal problems", "improper conduct", "unhappy or depressed" and "physical symptoms or fear" were significantly lower after the intervention, indicating that the degree of emotional disturbance of the identified students was improved significantly. Finally, findings in this research were discussed and implications and suggestions for school counseling work and future study were also provided.
Chang, Wan-Yung y 張婉渝. "The impact on learning attitude and outcome when applying Van Gogh’s painting technique into a nail painting instruction in a senior vocational school". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/02399550223819499691.
Texto completo國立屏東科技大學
技職教育研究所
102
This study aims to probe into the effect of applying Van Gogh technique in vocational school manicure instruction on students’ learning attitude and learning effectiveness. Experimental teaching was conducted, and a questionnaire survey was conducted using the self-developed “Questionnaire of manicure learning attitude and learning effectiveness of Department of Fashion Styling”. The data were collected from the semi-structural questionnaire, students’ imitation learning and work analysis. The subjects were 34 students in Department of Fashion Styling of a vocational school in Kaohsiung City. The collected data were analyzed with descriptive statistics and one sample t-test. Text analysis was conducted on semi-structural questionnaire, students’ imitation learning and work review. Based on the results, the findings are as follows: 1. In the scale on students’ learning attitude, the mean is above median and is significant. The mean of “I enjoy sense of achievement to learn manicure” is the highest. 2. In semi-structural questionnaires on students’ learning attitude, few students’ learning changes from frustration, lack of confidence to stress resistance. However, most of students are frustrated with related courses. Factors of students’ emotion include personal motivation, learning attention, personal responsibility, etc. 3. In the scale on students’ learning effectiveness, the mean is above median and is significant. The mean of “I learn more about life of Van Gogh” is the highest. 4. As to students’ imitation learning of learning effectiveness, they are interested in imitation of works of Van Gogh, and can use the technique instructed in courses. 5. In work analysis of students’ learning effectiveness, students are good at color in application of Van Gogh technique in creative works; however, their concept about Van Gogh technique is weak. 6. Enhancement of manicure creative instruction model and learning attitude, learning effectiveness influence students’ following results. 7. This study suggests one-year practice in Department of Fashion Styling to enhance students’ practice capacity and accomplish effective learning.
Wu, Chen-te y 吳建德. "The Viewpoint of Aesthetics for Painting Therapy To Interprete the Effects of Painting Therapy in Ming-Yang High School with the Viewpoint of Aesthetics". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/64633037504022096887.
Texto completo南華大學
美學與藝術管理研究所
93
Through painting, the image of one’s mind could be expressed and explained freely. In which way one can reveal one’s subconscious as possible as he can from more various sides. And while facing and explaining one’s own painting, he could find out his own subconscious by many aspects. More even, during explaining, it makes the suppressed subconscious to be understandable. Also, one can figure out various kinds of oneself deeply. This article was tried to combine some parts of theory from Lacane’s and Foucault’s which belonged to the post constructurelism. It was to search for any possibility of unknown ourselves by deconstructing the formal concept of language. Then, I tried to use aesthetics theory to construct the reaction to painting for clients and the limit of comprehending oneself while facing the painting. At last, describing how to make oneself changed through the final therapy from Gadamer’s perspective. The different frame of things decides the possibility of the features of something exhibiting. What researcher of aesthetics attempts to exhibit is how to observe the performance of painting therapy? One is how the client expresses his (or her )mind while in painting and how possible while he (or she) facing the painting. On the other hand, the more we want to reflect is how the researcher himself (or herself)observes the process of the whole study. Under the frame of the therapy, I’d like to exhibit how the process of the therapy was operated and what features the researcher presented. We endeavored to offer the particular presentation which the researcher himself (or herself)wants to, describe the details of what the researcher’s perspective considered in the theory. Let those who work as counselors confront the client with more perspective aspects.
Clay, Trevelyan. "Studio report from Painting Workshop : The Trees On Your Mound". Thesis, 2004. http://hdl.handle.net/1885/155286.
Texto completoPo-chou, Cheng y 鄭博州. "The Teaching of Ink-Painting for Art-Gifted Class Students in Junior High School". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/21260697494257250833.
Texto completo國立彰化師範大學
藝術教育研究所
93
The Teaching of Ink-Painting for Art-Gifted Class Students in Junior High School Abstract The study intends to develop an appropriate teaching approach of ink-painting which is suitable for art-gifted class students in junior high school. This approach not only can promote these art-gifted students’ abilities to know and appreciate modern ink-painting art works but also can improve their skills and interests in creating ink-painting works. On the basis of the research purpose, the research questions to be addressed are as follows: 1. What is the development of contemporary ink-painting and what is its significance to the teaching of ink-painting as part of the curriculum designed for art-gifted classes in junior high schools? 2. What is the appropriate teaching approach of ink-painting for art-gifted class students in junior high school? 3. How can teachers improve the students’ skills and promote their interests in creating ink-painting art works? According to the ways of creating ink-painting works and the ideas towards contemporary ink-painting, there are three main concepts of creating ink-painting art works: 1. Using ink as a tool to create art works. 2. Expressing oneself through the process of ink-painting creating. 3. Making records which show the phenomena happening in our society and environment. In the study, these three concepts are used to construct and design the three teaching units. The major findings in this study were summarized as follows: 1. The teaching of ink-painting for art-gifted class students in junior high school should co-operate with the development of contemporary ink-painting in Taiwan, and with the current trends of art education in the world. Since ink-painting was a special kind of art in our culture, the value of ink-painting creation in Taiwan had to be emphasized. Therefore, teachers ought to make more effort on the teaching of ink-painting while teaching art-gifted students because these students had great potential on art creation. These students were expected to express their feelings towards their countries, to co-operate with international trends, and to construct a unique new Taiwan image in their art works. 2. The theories of curriculum design for gifted students had to be included in the teaching of ink-painting for art-gifted students in junior high school. Also, teachers should consider students’ cognitive development stages, things happening in students’ everyday life, and topics connected with the society while designing the curriculum. Furthermore, technology, like using computers, could be put into consideration of curriculum design. 3. The teaching of ink-painting for art-gifted class students in junior high school had to be focused on both basic skills and various materials. Students gained more experiences of ink-painting creation from the projects of material testing, self-expression and news reading instead of endless skill practice. They were inspired, not limited. Therefore, they had higher motivation in learning how to create ink-painting art works. In conclusion, the results of this study revealed the positive findings: the teaching approach, which was designed based on the current trends of ink-painting creation and of art education, worked well since it promoted the abilities of creation of the art-gifted class students in junior high school and increased their interests in ink-painting creation. It was hoped that the results of the study could provide future researchers a resource of references.
"Grace Hartigan and Frank O'Hara: Partnership, Painting, and Camp in the New York School". Tulane University, 2019.
Buscar texto completo"PAINTING A PICTURE: WHY DIVERSE PARENTS CHOOSE CATHOLIC FRENCH IMMERSION FOR THEIR SCHOOL AGED CHILD". Thesis, 2015. http://hdl.handle.net/10388/ETD-2016-07-2171.
Texto completoLin, Yi-Chuan y 林益全. "The Studies of Children Painting - Case of Fine Art Classes to Children and Their School". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/49f68r.
Texto completo國立雲林科技大學
視覺傳達設計系
102
This research is for the purpose of discusses the adjustment of teaching material and teaching method, when we compare child painting creation, we could find the different on work of art. The students which are child art class are 36 child as the object of study, divides into two group, one is the kids group, another is the elementary school student from August, 2013 to January, 2014, carries on for six month observation. It shows different of two groups , through subject, teaching guide and all kinds of teaching property and teaching material to observe, interview and collect work of art then to analysis discrepancies. Below are results: 一、The different teaching material and teaching method can make child's painting creations present a different appearance. When we adopt oral explanation with Kid team, their work of art will include the concept, fuzzy, and likely image. When we give picture or model, we could find their work of art will appear the detail of features, color and characteristic. It’s work simple, unadorned and fun and it could present the objective. In the elementary, the junior class child work of art like kid team, but it will show more realistic. Middle grade child will said their thoughts and we could find the work of art will appear multivariate and new; when we give picture or model, the work of art will appear realistic. 二、Different teaching material and teaching method guide child's painting creations present the diverse performance method. According to the teaching method and the subject, painting uses the compound material. It could leads child to carry on the creation. It shows richly and multivariate performance. 三、Different teaching material and teaching method can develop painting confidence, viewpoint and creativity in response to child's need. Through imagination, curriculum of picture book story, the children can use a kind of the most pure, direct, self expression of the mode carry on creations of add, displacement, make it to conform to own imagination world . 四、Oral guideline and picture observation are the best guide for child painting creation. When we lead child to make creation, use oral guideline with picture observation, so that child could establish a loop of watching, thinking and painting.
Hsiao, Hui-Ju y 蕭惠如. "An Action Research on Teaching Modern Ink Painting to First Graders in the Elementary School". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/37002351848190167385.
Texto completo國立嘉義大學
視覺藝術研究所
94
This study employed literature review and action research to understand how the idea of modern ink painting applies to art education and teaching. Furthermore, teaching experiments were carried out to enable the students to experience different kinds of ink painting learning, to enhance their interest in learning ink painting and to probe into the effect made by first graders in using the idea of modern ink painting creation on art teaching. According to the verification and reflection of the theory and practice, the method of improving the effect of ink painting teaching is discussed to develop the idea of modern ink painting and teaching principle of ink painting to lower graders. The result of this study indicates: 1. The representation style and creation form of modern ink painting is diversified and interesting. Children show complete interest in this free art creation and understand its cultural values. 2. According to relevant theories, ink painting teaching design could be developed in the fields of arts and humanity for elementary school students. 3. To apply the modern ink painting creation to the teaching, proper courses must be designed according to children's stages of artistic development and considering the appropriateness of teaching materials and techniques. 4. Under different strategies and activities of ink painting teaching, students have achieved positive results in learning. 5. Application of appropriate teaching methods to ink painting teaching can increase the interest in learning and enhance children』s confidence in learning.
Katzin, Jeffrey James. "Experimentation, diversity, and feeling : Adolph Gottlieb’s career in painting reconsidered". 2013. http://hdl.handle.net/2152/21233.
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