scholarly journals Kształcenie w zakresie grafiki w szkolnictwie artystycznym Krakowa, Lwowa i Wilna w latach międzywojennych

2019 ◽  
pp. 85-100
Author(s):  
Anna Boguszewska

 Training in graphics in the artistic education of Cracow, Lvov and Vilnius during the interwar years (1918–39)The beginnings of art education in Poland are connected with the cities of Cracow, Vilnius and Warsaw in the 18th and 19th centuries. In the interwar period (1918–39), in addition to the most powerful graphics education center in Warsaw, this discipline of art developed intensively in the art schools in Lvov, Cracow and Vilnius. The development of graphics in the Cracow Academy is related to the artistic and educational activities of Józef Pankiewicz. In 1923, the independent Department of Graphic Arts was established, conducted by John Wojnarski in collaboration with Andrzej Jurkiewicz and Jan Rubczak. The next outstanding teachers are Ludwik Gardowski and Konrad Strzednicki. Graphics education in the Municipal School of Art Industry (Miejska Szkoła Przemysłu Artystycznego) in Cracow is headed by Witold Chomicz. Graphics education in Lvov is linked to the activity of such artists as Ludwik Tyrowicz and Maria Rużycka. Ferdynand Ruszczyc, Bonawentura Lenart introduce the study of graphics into the curriculum of the Faculty of Fine Arts at Stefan Batory University in Vilnius. Since 1930, Jerzy Hoppen started the graphics workshop. In the 1930s, the graphic arts established a permanent and significant position in Polish art education. 

Author(s):  
Yuliya Maуstrenko-Vakulenko

Abstract. The article considers the peculiarities of formation of the collection of educational and methodical funds of the Drawing Department of the National Academy of Fine Arts and Architecture (NAFAA). The purpose of the study is to identify the role of the custodian in the process of forming the collection; determination of special professional requirements and specific range of job responsibilities of the keeper of museum collection of the institution of higher art education by studying the history of the collection. On the basis of the study of NAFAA archival materials and conversations with employees of the Academy, the list of persons responsible for the preservation of the collection of educational and methodical funds of the Drawing Department since 1937 has been established. It was found out that the position of the person responsible for the preservation of the collection of educational and methodical funds of the Drawing Department, during second half of the 20th century and the beginning of the 21st century, had different names: Head of the drawing studyroom, Educational master, Master of industrial training, Head of the educational laboratory of the Drawing Department. People who worked with the funds mostly had higher art education (or intended to acquire it): they were practicing artists, graduates of painting, graphic arts, restoration, theory and history of art, pedagogical or architectural faculties. It was noted that the process of transferring art values took place between the responsible employees without any documentary support, and the employees themselves were changing their positions almost annually until the 1990s. It was proved that the absence of appropriate position of funds keeper in the staff schedule of the KSAI-NAFAA, which requires a professional education in art history and knowledge of museum management methods, had a negative impact on the preservation of collection. Thus, the museum, which is planned to be established under the NAFAA in the near future, should become a special structural subdivision. Along with its main activity related to the acquisition, recording, storage, conservation (preservation) and restoration of museum treasures, the NAFAA museum should perform an important educational and methodological function. To the typical duties of the Head keeper of the NAFAA museum collections there should necessarily be the requirement to know the history, methods and techniques of teaching artistic disciplines, as well as to have pedagogical experience.


2021 ◽  
Vol 1 (192) ◽  
pp. 203-209
Author(s):  
Marina Sofilkanych ◽  

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.


Author(s):  
Željko Bralić ◽  
Ljubinka Katić

The work contents a presentation of the main outcomes of an extensive historical-andragogical research, mainly based on the archival documents kept in Archives of Yugoslavia. An overview of adult education practice in Bosnia and Herzegovina is shaped from the documents data concerning the most signifcant institutions and activities organized as an attempt to contribute to general educational goals in Kingdom of Serbs, Croats and Slovenes – Yugoslavia between two wars, through andragogical educational activities: raising the general level of literacy and education of wide sections of the population. Institutional basis of adult education praxis at the time mostly rested upon literacy courses, people’s universities, cultural-educational societies, etc. This paper especially distinguishes andragogical activity of momentous and respectable Sarajevo-based cultural-educational establishments (People’s university, Gajret, Prosveta, Napredak), that were amongst the most signifcant and successful in Yugoslavia, and represented example of model work in adult education of the interwar period.


2020 ◽  
Vol 8 ◽  
pp. 64-70
Author(s):  
Sunarto ◽  
Irfanda Rizki Harmono Sejati

This article discusses about drawing on configuration of art education, a philosophy perspective. Drawing is discussed philosophically which is based on: ontology, epistemology, and axiology. Drawing is a work of fine arts. Drawing can be defined as a picture or diagram which is drowned by using pencil, pen or painting crayon, especially a monochrome picture. From philosophical side, drawing has a “truth”. Drawing that comes pure from mind represent a shape of two dimensional look. Education; drawing will form honesty (Logico Aestheticus) and truth (Logico Mathematicus). Ontologically (intrinsic substance), drawing actually is observing a shape detail and will relate to thought from science perspective and other knowledge towards object observation.  


2020 ◽  
Vol 9 (3) ◽  
pp. 57
Author(s):  
Xiaoxi Liu

<p>With the constantly development of social economy, fine art has received more and more attention in people's learning progress. Meanwhile, art, as an important part of fine art education, plays an irreplaceable role. Early childhood is the vital stage for the study of fine arts and promoting toddlers to develop good art capability, which is quite important for preschooler's development. Children's painting should not only be understood correctly and objectively but also need to be given correct guidance. The key to art education for preschoolers is to create a good painting environment for them. Besides, teacher's reasonable and effective teaching method is also a key link in cultivating children's art capability.</p>


Author(s):  
Sarah Bint Nasser Bin Sulaiman Al Shabanat

The objective of the research to identify the problems of applying the curriculum of art education developed in villages and remote areas from the point of view of parameters. The descriptive approach has been used, where the study population is one of the teachers of art education in villages and remote areas (34) teachers. The technical education room is not equipped with suitable equipment for the application of the curriculum of advanced art education such as ceramic ovens, washing machine washing tools, etc., the inability of the student to be able to From the provision of tools and raw materials to the absence of libraries in the villages, the absence of a teacher for the distance of residence from the village headquarters and the lack of appropriate educational activities in the curriculum of art education developed for the physical potential of the school environment. The most important recommendations are: Providing a special bag for girls from remote villages and areas containing all necessary to apply the curriculum of art education to take into account their economic circumstances. Holding training courses for teachers of art education on the developed curriculum and how to teach it and adapt it to the rural environment and how to find alternatives to tools from the local environment. Developed as a pilot phase in villages and remote areas and include the curriculum with free educational activities; chosen by the teacher in proportion to the environment and nature of students.


2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.


Author(s):  
Владимир Евгеньевич Иванов

Проведено историко-педагогическое исследование становления нормативной базы художественного образования в России. Определены регламенты подготовки мастеров художественных ремесел в различных ведомствах Санкт-Петербургской академии наук: Канцелярии от строений, Кабинете императорского двора, Гоф-интендантской конторе, Адмиралтейств-коллегии, Рисовальной палате, Типографии, Мануфактур-коллегии. Изучены предпосылки формирования центра художественного образования и системы обучения будущих мастеров изобразительного искусства . A historical and pedagogical study of the formation of the normative base of art education in Russia is carried out. The regulations for the training of masters of artistic crafts in various departments of the St. Petersburg Academy of Sciences are defined: The Office of the buildings, the Office of the Imperial court, the Quartermaster's Office, the Admiralty Board, the Drawing Chamber, the Printing House, the Manufactory Board. The prerequisites for the formation of an art education center and a training system for future masters of fine arts are studied.


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