Introduction

2021 ◽  
pp. 1-4
Author(s):  
Jorge Variego
Keyword(s):  
Visual Arts ◽  
Creative Work ◽  
New Work ◽  
Architectural Acoustics ◽  
Compositional Choices ◽  
Compositional Approaches

The book is arbitrarily structured around the parameters of melody, rhythm, harmony, texture, and pre-compositional approaches. All chapters start with a brief note on terminology and general recommendations for the instructor and the student. The first five chapters offer a variety of exercises that range from analysis and style imitation, to the use of probabilities. The chapter about pre-compositional approaches offers original techniques that a student composer can implement in order to start a new work. This last section of the book fosters creative connections with other disciplines such as math, visual arts, and architectural acoustics. Each of the 100 exercises contained in the book proposes a unique set of guidelines and constraints intended to place the student in a specific compositional framework. Through those compositional boundaries the student is encouraged to produce creative work within a given structure. Using the methodologies in this book, students will be able to create their own outlines for their compositions, making intelligent and educated compositional choices that balance reasoning with intuition.

scholarly journals THE CREATIVE INFLUENCE OF PABLO PICASSO ON THE WORKS OF LATVIAN ARTISTS

2017 ◽  
Vol 4 ◽  
pp. 15
Author(s):  
Diāna Apele
Keyword(s):  
Research Methods ◽  
20Th Century ◽  
Main Topic ◽  
Pablo Picasso ◽  
Common Denominator ◽  
Creative Work ◽  
New Work ◽  
Modern Culture ◽  
Internet Resources ◽  
The Common

Pablo Picasso is one of the Western modern culture creators of the first part of the 20th century. Picasso has influenced numerous artists directly or indirectly – both the followers of Western school and artists here, in Latvia. The main topic of this research is Pablo Picasso's influence on Latvian artists, specifically – Visvaldis Ziediņš, Rūdolfs Pinnis and Aleksandrs Dembo. Picasso stands out for exceptionally virtuosic style – it was characteristic of him to begin each new work as an individual wholeness, experimenting with graphic forms, colours, textures, lines, volumes, playing with relations of dark and light and work's emotional atmosphere. Similarly, in the works of all three artists, the experiments with graphic forms and textures and virtuosic plays with relations of dark and lights and emotions are perceptible. Sharp sense of epoch, refined means of expression, depth of thinking, pictoriality, freedom of inspiration, nonconformity, intellectually difficult practice, lyrism, lightness and looseness, expressivity, spirituality – this is the common denominator of the artists – V. Ziediņš, R. Pinnis and A. Dembo. For all these prominent artists, Picasso’s creative work was not an object of imitation, but rather a launch pad to start acquiring the experience they were fascinated by. Research aim: to characterize creative work of the great Spanish artist Pablo Picasso and analyse his creative influence in the works of Latvian artists. Research methods: theoretical: the analysis of the study fields literature and internet resources.

The Terms of the Text

2021 ◽  
pp. 245-280
Author(s):  
Alison Rice
Keyword(s):  
Women Writers ◽  
Visual Arts ◽  
Personal Experience ◽  
Creative Work ◽  
Reading Experience ◽  
Bande Dessinee ◽  
Works Of Art ◽  
Art Forms ◽  
Photo Essay

Chapter 9 examines how unconventional written work is currently pushing the limits of our understanding of genre. Women from elsewhere are drawing from personal experience in order to disturb tired distinctions between “text” and “life” in imaginative fashions that reconfigure the reading experience. Their creative work is contributing to liberating these authors from overworked modes of expression and worn expectations, and allows them to break free from rigid definitions. It is significant that a number of worldwide women writers are now opting to compose works in a variety of creative forms ranging from the bande dessinée to the journal to the photo essay to récits of all sorts, expanding our conceptions of generic classification by playing with everything from titles to formats within the written work. This inventiveness includes a great deal of attention to visual arts and music, occasionally through the integration of works of art and musical notations in the text itself, and other times through allusions to artistic and musical pieces, or even through the construction of passages that liken literature to these other art forms. Authors are more and more impressively contributing to their own publishing profiles by writing “autobiographically” in variations that elude any clear categorization, but that reveal intimate details in texts that embody movement, progression, and development in exciting new terms.

Women and the Visual Arts

2011 ◽  
Author(s):  
Jacqueline Marie Musacchio
Keyword(s):  
Visual Arts ◽  
Social Conditions ◽  
Dutch Republic ◽  
New Work ◽  
Italian Peninsula ◽  
Recent Scholarship ◽  
The Arts ◽  
Stuart England ◽  
Near Future ◽  
The Relationship

The relationship between women and art in the Renaissance and Reformation across Europe is still a relatively new area of study, and recent scholarship indicates considerable interest in all aspects of it. Women’s engagement with the arts might be categorized into three broad themes: women as artists, patrons, and subjects. This is perhaps the best way to look at this phenomenon, and a great many art historians, cultural historians, and other scholars have used these themes to structure their inquiries. Within these three themes, however, it is important to note that the women in question were almost always of the middle and upper classes, and they lived in urban settings; these were the women who, via familial wealth or, in some cases, their own resources, could afford encounters with art. Much of the scholarship on this topic has been biased toward cities on the Italian peninsula, where contextual research on economic, political, and social conditions provides a strong foundation across the chronological span. But new work on the Dutch Republic and Tudor and Stuart England, as well as occasional studies in other countries and eras, indicates that this burgeoning field will only become more popular in the near future.

scholarly journals The Presumption of a Creative Nature (Originality) of Copyright Objects

Lex Russica ◽  
2021 ◽  
Vol 74 (10) ◽  
pp. 9-25
Author(s):  
S. V. Mikhailov
Keyword(s):  
Coordinate System ◽  
Original Work ◽  
Practical Significance ◽  
Copyright Holder ◽  
Creative Work ◽  
Information Revolution ◽  
New Work ◽  
Judicial Practice ◽  
Russian Law

The paper is devoted to the doctrinal meaning and practical significance of the presumption of the creative nature (originality) of copyright objects. This presumption is not directly enshrined in Russian law, but it follows from the systemic interpretation of the rules dedicated to notion of the author. A citizen who created a work by his creative work is recognized as the author. The laws of many countries contain the presumption of originality of works, but its interpretations are diametrically different. At the present time, in the conditions of an increasingly accelerating and complicating civil turnover accompanied by the information revolution, legal and technical substantive approaches to the category of originality (as a synonym for creativity) as a common and only prerequisite for the protection of works by copyright and the continental copyright system have gradually begun to converge. At the same time, domestic judicial practice still unreasonably ignores the doctrine of substantial similarity of works based on the presumption of originality. The author proposes an authentic classification of disputes concerning the originality of works, the basis of which is the number of objects involved in the dispute.The author builds a coordinate system, the criterion of which is the degree of change of the original work: identical copying — non-identical copying — processing — free creation of another original work. At the same time, the author emphasizes that a copy, even significantly different from the original, does not cease to be a copy. In legal terms, identical and non-identical copying constitutes reproduction that requires the consent of the author or copyright holder of the original work. A necessary sign of processing is the purpose of the author of the changes to expand the possibilities of using the original work; processing also requires the consent of the author or copyright holder with respect to the original work. Non-identical copying and reworking should be distinguished from creating a new work using an unprotected content of the original authentic work.

scholarly journals Mythological Archetypes in the Work of Vladimir Dimitrov - The Master

2019 ◽  
Vol 5 (1) ◽  
pp. 86-99
Author(s):  
Elena Panayotova ◽  
◽  
◽  
Keyword(s):  
Visual Arts ◽  
Eternal Life ◽  
Creative Work

In the work of the great Bulgarian artist Vladimir Dimitrov - The Master are applied mythological archetypes, studied theoretically today in the field of visual arts. The archetypes of the center, the radiant light, the connection of the figures with the background stand out. The master reflects the bride's fairy, the gentleness of the mother and the power of the rushed master - bathed in golden light. By painting, the Master worships the beauty and perfection of "eternal life". These themes, visually developed by the Master, have been proposed for study and interpretation by students who, with enthusiasm, go in the footsteps of the great artist and show great results in their creative work.. Keywords: Vladimir Dimitrov - The Master, mythological archetypes, eternal life, visual arts

scholarly journals Ceramics and porcelain in the work of sculptor

2019 ◽  
Author(s):  
Дмитрий Никитович Тугаринов
Keyword(s):  
Family Member ◽  
Visual Arts ◽  
Folk Art ◽  
Current Situation ◽  
Creative Work

В статье рассматривается использование таких не типичных материалов для творческой работы скульпторов, как керамика и фарфор. Как известно, с этими материалами в основном работают мастера декоративно-прикладного и народного искусства. Однако на примере своего собственного опыта, а также скульпторов-членов своей семьи (Афины Попандопуло и Софьи Тугариновой), автор статьи – скульптор Дмитрий Тугаринов – рассказывает о преимуществах работы именно с керамикой и фарфором, а также анализирует место и роль этих материалов в истории в целом. Автор не забывает и о сегодняшней ситуации в изобразительном искусстве, приводя ряд аргументов именно в пользу этих двух вечных материалов – керамики и фарфора. The article observes the use of nontypical materials in the creative work of sculptors such as ceramics and porcelain. It is well known that masters of decorative and folk art mainly work with these materials. However, using the example of his own experience, as well as his family member sculptors (Afina Popandopulo and Sofiya Tugarinova), the author of the article, sculptor Dmitry Tugarinov, talks about the advantages of working with ceramics and porcelain, and also analyzes the place and role of these materials in history in general. Also the author doesnt forget about the current situation in the visual arts, citing a number of arguments in favor of these two eternal materials ceramics and porcelain.

Skill transfer in visual arts expertise.

2016 ◽  
Vol 10 (2) ◽  
pp. 147-156 ◽  
Author(s):  
Bonnie L. Angelone ◽  
Richard W. Hass ◽  
Marissa Cohen
Keyword(s):  
Visual Arts ◽  
Skill Transfer
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