scholarly journals تطوير القدرات الإبداعية للطلاب في مجال فنون الموضة من خلال ابتكار تصميمات الأزياء المطبوعة المتأثرة بالمدارس الفنية الحديثة باستخدام تقنيات الطباعة المتنوعة = Developing the Creative Abilities of Students in the Field of Fashion Arts through the Creation of Printed Fashion Designs Influenced by Modern Art Schools Using Various Printing Techniques

2018 ◽  
Vol N.A. (10 Part 2) ◽  
pp. 98-128
Author(s):  
رباب أحمد الرفاعي ◽  
إيمان أحمد عبد الله
Keyword(s):  
Modern Art ◽  
The Creation ◽  
Creative Abilities ◽  
Art Schools ◽  
Printing Techniques

Re-defining Modernism (1946–1953)

2016 ◽  
Author(s):  
James King
Keyword(s):  
Modern Art ◽  
Museum Of Modern Art ◽  
The Creation

This chapter details events in Roland Penrose's life from 1946 to 1953. Before the war, there had been a great deal of discussion about the establishment of a museum of modern art in London. Herbert Read had attempted to start one in co-operation with Peggy Guggenheim. Roland and Mesens had made counter-moves. However, nothing had happened, largely because of the approaching war. By 22 January 1946, the differences between Read and Mesens had been sufficiently mended for them — together with Roland — to send a letter inviting ‘interested parties’ to attend a meeting on the creation in London of a centre from which a Museum of Modern Art could ultimately be planned.

scholarly journals Influenţe Secession În Lirica Blagiană

2019 ◽  
Vol 20 (1) ◽  
pp. 126-135
Author(s):  
Denisa-Maria Frătean
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Modern Art ◽  
Gustav Klimt ◽  
The Creation ◽  
The 19Th Century ◽  
The Impact

AbstractSecession Influences in Blaga’s Poetry (Influențe Secession în lirica blagiană) – This essay analyses the impact of the years spent in Vienna on the formation of Lucian Blaga, taking into consideration the fact that, at the end of the 19th century and the beginning of the 20th century, the capital of the Empire was the centre of an impressive art movement called the "Vienna Secession". The aim of this paper is to identify the similarities that can be established between the art of the painter Gustav Klimt, a representative figure for that period and the president of Secession, and the poetry of Blaga. The comparison includes the symbols to be found in the works of the two artists, such as the spring flowers and the serpents, the dominant colours, the type of lines used in the creation of their images and the reaction of people to their modern art.

Bauhaus

2018 ◽  
Author(s):  
Anja Baumhoff ◽  
Susan Funkenstein
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Total Work ◽  
Paul Klee ◽  
Post War ◽  
Mies Van Der Rohe ◽  
Modern Artists ◽  
The City ◽  
Walter Gropius ◽  
Art Schools

In 1919 a young architect named Walter Gropius initiated one of the most modern art schools of the twentieth century in the city of Weimar in Thuringia, Germany. He called it the Bauhaus. Its unusual name can be translated as "building hut," indicating its connection with the medieval tradition of cathedral building and the idea of a total work of art. The Bauhaus is not only famous for its ideas or its buildings in Weimar and Dessau but also for its members, among them the three directors of the school—the architects Walter Gropius (1919–1928), Hannes Meyer (1928–1930), and Mies van der Rohe (1930–1932). Teachers included renowned modern artists such as Lyonel Feininger, Vassily Kandinsky, Paul Klee, László and Lucia Moholy-Nagy, Herbert Bayer, Marcel Breuer, Wilhelm Wagenfeld, Anni und Josef Albers, Oskar Schlemmer, Marianne Brandt, and Gunta Stölzl. All of them endorsed modernism at a time when modern art and abstraction was far from being accepted—contemporaries understood it first of all to be a post-war rebellion similar to the then notorious Dada movement. The overall aim of the Bauhaus was to redefine fundaments of composition and construction as well as the use of colors.

scholarly journals Textile Pattern Design in Thermal Vision—A Study on Human Body Camouflage

Materials ◽  
2021 ◽  
Vol 14 (16) ◽  
pp. 4364
Author(s):  
Catarina Pimenta ◽  
Carla Costa Pereira ◽  
Raul Fangueiro
Keyword(s):  
Human Body ◽  
Visible Spectrum ◽  
Thermal Manikin ◽  
Pattern Design ◽  
New Approach ◽  
Textile Materials ◽  
Clothing Design ◽  
Thermal Vision ◽  
The Creation ◽  
Printing Techniques

This paper reports on a new approach to the creation process in fashion design as a result of the exploitation of thermal camouflage in the conceptualization of clothing. The thermal images’ main variation factors were obtained through the analysis of their color behavior in a (diurnal and nocturnal) outdoor beach environment, with the presence and absence of a dressed human body (through the use of a thermal imaging camera), such as the analysis of textile materials in a laboratory (simulating the captured outdoor atmospheric temperatures and those of the model’s skin using the climatic chamber and the thermal manikin). The combination of different patternmaking, sewing and printing techniques in textile materials, along with the study of the camouflage environment and the human body’s variation factors, as well as the introduction of biomimetic-inspired elements (chameleon’s skin), enabled the creation of a clothing design process with innovative de-sign elements which allow us to thermally camouflage the human body and take clothing beyond the visible spectrum in a functional and artistic way.

scholarly journals EXPERIMENTAL METHOD OF TEACHING OF NARRATIVE COMPOSITION OF ASSEMBLING TYPE OF CHILDREN’S ART SCHOOL

2021 ◽  
pp. 45-56
Author(s):  
Ольга Владимировна Двизова
Keyword(s):  
General Education ◽  
Creative Thinking ◽  
Fine Arts ◽  
Main Idea ◽  
Linear Perspective ◽  
Children's Art ◽  
State Pedagogical ◽  
The Creation ◽  
Art Schools ◽  
Art School

Обобщен и проанализирован опыт построения сюжетной композиции монтажного типа в детской художественной школе, реализованный путем адаптации методических разработок профессора Томского государственного педагогического университета (ТГПУ) С. П. Лазарева по живописно-графической композиции. Устойчивые законы композиции носят всеобщий характер, а композиционные правила и приемы, с помощью которых строится композиция, можно отнести к менее устойчивым категориям. Создание станковой композиции – это прежде всего построение единого по содержанию художественного произведения, основная идея которого читается четко и убедительно. Преподавание композиции в детской художественной школе имеет некоторое противоречие: с одной стороны, требования к качеству подготовки обучающихся постоянно растут, с другой – подходы в обучении построения станковой сюжетной композиции остаются прежними, представляя собой, как правило, линейную схему развития сюжетного повествования. Событие изображается в системе линейной перспективы и не дает возможности в полной мере использовать потенциал фантазии обучающихся. В настоящее время особую актуальность приобретают методики преподавания станковой композиции, создающие условия для развития творческого мышления обучающихся. Есть множество подходов к созданию сюжетной станковой композиции, изученных, описанных и применяемых художниками: например, монтаж успешно используется в обучении студентов профильных вузов (в том числе ТГПУ). Проблема заключается в том, что нет методики обучения учеников художественных школ станковой сюжетной композиции с использованием монтажного метода. The purpose of this experimental study is to summarize and analyze the experience of formation a narrative composition of assembling type in a children’s art school, implemented by adapting the methodological developments of the teacher of Tomsk State Pedagogical University S. P. Lazarev on the painting and graphic composition. The relevance of this study is due to educational aspects related to the study of methods of working on easel narrative composition in children’s art school (elementary level of fine arts education). The stable laws of composition, which have been in force for a long time in the history of fine arts, are universal, and the compositional rules and techniques by which the composition is built can be classified as less stable. The creation of an easel composition is first of all the construction of a single art work, the main idea of which is read clearly and convincing. Teaching of composition in children’s art school has some contradiction: on the one hand, requirements to the quality of students training are constantly growing, on the other hand, approaches in teaching the construction of easel narrative composition remain the same, representing, as a rule, a linear scheme of development of story narrative. The event is depicted in a linear perspective system and does not allow full use of the potential of the students’ fantasy. At present, the methods of teaching easel composition, which create conditions for the development of creative thinking of students, are of particular relevance. There are many approaches to the creation of an easel narrative composition, studied, described and applied by artists: for example, assembling is successfully used in the training of students of specialized universities (including Tomsk State Pedagogical University). The problem is that there is no method of teaching students of art schools an easel narrative composition using an assembling method (conditionally such a composition can be called a narrative composition of assembling type). The description of the principles of working with children on the easel narrative composition of the assembling type within the framework of the studying under the additional pre-vocational program “Painting” can be useful to teachers of art schools, teachers of general education schools, teachers of specialized universities and Secondary Specialized Educational Institutions, as well as artists interested in children’s creativity, participating in the jurying of competitions of children’s works.

scholarly journals MODEL PROGRAM “TECHNOLOGIES FOR 5–6 GRADES” AS ONE OF THE MEANS OF CREATING LEARNING ENVIRONMENT OF THE NEW UKRAINIAN SCHOOL

2021 ◽  
pp. 145-151
Author(s):  
Andriy Tereshchuk
Keyword(s):  
Learning Environment ◽  
State Standard ◽  
Learning Process ◽  
Educational Institution ◽  
Educational Environment ◽  
Educational Process ◽  
Professional Activity ◽  
Model Program ◽  
The Creation ◽  
Creative Abilities

The purpose of the article is to substantiate the process of creating a model program as a leading tool for constructing the learning environment of the New Ukrainian School.Creating an educational environment is an extremely important and urgent task today, in connection with competence training and overcoming the outdated problems of the classroom system of national education. The educational environment allows teachers to bring the educational process closer to the life of students, to teach them to learn all the time, regardless of its location or conditions, which often affect more than the artificially created learning process. Everything that surrounds the school can be an educational environment for the student. After all, it is a well-known fact that the environment in which the student is immersed, affects him more and deeper than the learning process, which is limited by time and resources.The article provides a brief overview of issues related to the creation of the learning environment and reveals opportunities for its modelling on the basis of the new State Standard of Basic Secondary Education.The structure of the model program and educational tasks of the corresponding subject “Technology” for 5-6 grades of high school are revealed and characterized. The main factors influencing the creation of educational or educational environment in an educational institution are considered. The article contains recommendations for creating a model program for technology.The purpose of technological education is to reveal the creative abilities of students, the formation of skills to implement strategies for effective decision-making during project activities, the ability to change the environment taking into account the balanced development of society, the ability to cooperate and cultural interaction, national self-expression.The purpose of the subject of technology is the comprehensive development of the student's personality, his creative abilities and natural inclinations, taking into account his individual abilities for future professional activity in various fields of production through the study of design and technological activities, basics of design and construction. Keywords: educational environment; pupils; State standard of basic secondary education; model curriculum; technologies; technological educational branch; cross-cutting skills; competency; key competencies.

Silpakorn University

2018 ◽  
Author(s):  
Brian Curtin
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Fine Arts ◽  
Decorative Arts ◽  
Constitutional Democracy ◽  
Coup D'etat ◽  
The Status ◽  
The Creation ◽  
The Government ◽  
The University

Silpakorn University was officially inaugurated in Thailand in 1943 as a raising of the status of the School of Fine Arts, which had been founded in 1933. The first director of the university was the Italian sculptor Corrado Feroci (Silpa Bhirasri, 1892–1962), who led the institution until his death. He had been employed in 1924 as official sculptor to the government of Thailand under the reign of King Vajiravudh (1880–1925), or Rama VI, who had initiated a number of programs to preserve Siamese craftsmanship and respond to modern foreign influence, of which Silpakorn University was an outgrowth. Feroci remains a revered figure among Thai artists, and his portrait can be regularly seen in local artists’ studios. He had led the creation of the Democracy Monument on Bangkok’s Ratchadamnoen Road – to commemorate the 1932 coup d’état which established a constitutional democracy – and this convinced the Department of Fine Arts that an art university could be used to produce major national works. Feroci created three strands for Silpakorn University’s education: styles specific to the nation, the fashions of contemporary art, and the influence of international modern art. Training in painting and sculpture was initially provided, and then training in architecture, archeology and decorative arts was added. The principal objective of the university was to reconcile Thai traditions and Western Modernism.

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