scholarly journals Del aula al museo: estrategias profesionalizantes de los alumnos de Historia del Arte de la Universidad de León a través de un proyecto de innovación docente (2017) = From the class to the museum: professional strategies of students of Art History at the University of León through a project of teaching innovation (2017)

2018 ◽  
Vol 2 ◽  
pp. 20
Author(s):  
María Dolores Teijeira Pablos ◽  
Emilio Morais Vallejo ◽  
José Alberto Morais Morán
Keyword(s):  
Art History ◽  
State Of The Art ◽  
Teaching Innovation ◽  
Professional Performance ◽  
History Of Art ◽  
History Of ◽  
The University ◽  
Innovación Docente

<p>Resumen</p><p>Este artículo aborda el desarrollo y los resultados de un proyecto de innovación docente aplicado en el Grado de Historia del Arte de la Universidad de León, durante el año 2017, dentro del Plan de Innovación Docente de dicha institución.</p><p>Se presentan los antecedentes de esta actividad, así como un breve estado de la cuestión sobre las publicaciones que abordaron el desempeño profesional de los estudiantes tras terminar sus estudios. Finalmente se explica la metodología del proyecto objeto de análisis, las fases de realización, su relación con las competencias propias de estos estudios y los resultados obtenidos.</p><p> Abstract</p><p>This article analyzes the development and results of a project of teaching innovation applied in the degree of History of Art of the University of Le´on, during the year 2017, within the Plan of Teaching Innovation of this institution. The background of this activity is presented, as well as a brief state of the art on publications dealing with the professional performance of students after completing their studies. Finally, the methodology of the project under analysis, the phases of realization, its relationship with the competences of these studies and the results obtained are explained.</p>

scholarly journals To Play Many Parts: Reading Between the Lines of Charlotte Salomon/CS’s Leben? oder Theater?

2018 ◽  
Vol 43 (1) ◽  
pp. 63-80
Author(s):  
Nicholas Chare
Keyword(s):  
Art History ◽  
Fine Art ◽  
Recent Book ◽  
New Haven ◽  
Yale University ◽  
The Social ◽  
History Of Art ◽  
History Of ◽  
German Jewish ◽  
The University

This conversation with Griselda Pollock, Professor of the Social and Critical Histories of Art in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds, UK, focuses on her most recent book, Charlotte Salomon and the Theatre of Memory (New Haven and London : Yale University Press, 2018). The latter provides new readings of Leben ? oder Theater ? (Life ? or Theater ?), the artistic project of the German Jewish artist Charlotte Salomon (1917–1943), who painted as CS — the cipher the artist purposely used to disguise both her gender and her ethnicity — thus challenging previous interpretations that treat this remarkable intermedial work as straightforwardly autobiographical.

scholarly journals University Art History in Slovakia after WWII and its Sovietization in 1950s

2019 ◽  
pp. 161-190
Author(s):  
Katarina Kolbiarz Chmelinová
Keyword(s):  
Art History ◽  
The Political ◽  
Social Changes ◽  
History Instruction ◽  
New Rhetoric ◽  
History Of Art ◽  
History Of ◽  
The 1950S ◽  
Post War ◽  
The University

In post-WWII Slovakia, art history was available only as a university field of study at Bratislava University (in 1954 regaining its name Comenius University) at the Seminár pre dejiny umenia / Seminar of Art History, a separate part of the Faculty of Arts of the university, where art history had been taught as an independent discipline since 1923 before its conversion to a department. Post-war changes in state structures and the new political system radically affected Slovak society and the education system in the country. This article is the very first attempt to present in detail the extent and character of changes in university art history instruction in the part of the socialist era of the Czechoslovak Republic. It is based on the study and comparison of previously unprocessed sources from various university and state archives and their classification in the context of known historical facts. This contribution represents an in-depth probe into the post-war efforts to build a new university foundation and system of art history instruction in Slovakia within the Czechoslovak Republic, and its Sovietization as well. The text analyzes the university environment, the curriculum, the study program of art history and the relevant changes resulting from political pressure from 1945 to 1960. They were the consequence of two directly related, significant moments in the history of Slovakia: the establishment of the Third Czechoslovak Republic in 1945 and the communist coup in 1948, which was followed by the most totalitarian period in the history of the state. The article also discusses the personal changes in the art history staff forced by the political situation (J. Dubnický, V. Wagner, V. Mencl, A. Güntherová-Mayerová, R. Matuštík, T. Štrauss, K. Kahoun). After a brief presentation of the situation in Czechoslovakia at the time, the article first deals with the ad hoc activities and efforts of scientists seeking to maintain art history studies in Slovakia at the university level immediately after the end of the war. The central issue in the article is the changes in the way of teaching resulting from the political upheaval in February 1948. Against the background of political and social changes, the new law on higher education (Act No. 58/1950), which forces significant organizational transformations, is discussed. As part of the process of Sovietization of university education in Slovakia, the modified Seminar of Art History lost its independent status for a long time, and its staff was largely replaced. At the same time, throughout this period, there was a visible tendency to stabilize the teaching system and attempts to become independent again and to develop discipline, undertaken contrary to the imposed system. The 1950s, with their new rhetoric and propaganda optimism, appear to be a decade devoid of internal consistency. It started the most totalitarian period, which lasted until Stalin’s death in 1953, but was followed by a short thaw and then by a new wave of repression after 1957, which chose victims even at the beginning of the next decade. The article focuses on two sides of the 1950s – centralization and the dominant ideological control of the Communist Party, on one hand, and on the other, the obvious effort to unify and professionalize the teaching of the discipline. The factual material presented here shows the scale of changes interpreted in the context of the political and social changes of that time. The case study provides an analysis of system efforts made in the 1940s and 1950s to establish new principles of university teaching for the history of art in Slovakia as part of the Czechoslovak Republic. It aims to broaden the factual basis and existing overview of knowledge of art history in Slovakia and supplement existing studies on the history of art history in the country (J. Bakoš, I. Ciulisová, B. Koklesová).

scholarly journals JÓZEF POKLEWSKI-KOZIEŁŁ (21 April 1937–21 May 2019)

Muzealnictwo ◽  
2019 ◽  
Vol 60 ◽  
pp. 267-272
Author(s):  
Michał F. Woźniak
Keyword(s):  
Art History ◽  
Doctoral Dissertation ◽  
Scientific Career ◽  
History Of Art ◽  
Baroque Art ◽  
History Of ◽  
Nicolaus Copernicus ◽  
Doctoral Dissertations ◽  
The University ◽  
Scientific Life

On 27 May 2019, we bid farewell to Józef Poklewski, a trusted Colleague and Friend, professor at the Nicolaus Copernicus University (UMK) in Toruń. Born in Kowalewo in the Vilnius Region, following WWII, orphaned by his father Władysław, he moved to Giżycko with his mother Emilia, with whom he felt a strong bond until the very last days. This was his individual feature: the long-lasting character of and reliability in relationships. Following the studies in history of art at the University of Poznań, he became assistant lecturer at UMK, with which he was bonded throughout all of his academic and scientific career. He remained strongly influenced by his teacher and mentor Gwidon Chmarzyński, professor at both universities. In his research Poklewski initially concentrated on Baroque art (doctoral dissertation on the Marian Jesuit Sanctuary at Święta Lipka), gradually more intensely focusing on the topic of the history of art and artistic life, as well as education in art, history of art, and conservation in Vilnius (post-doctoral dissertation) and in Toruń. An appreciated and dedicated lecturer, at UMK Józef Poklewski performed the function of the head of the Department of the History of Mediaeval and Modern Art, and of the Director of the Institute of Monument and Conservation Expertise; furthermore, he was the University’s Senate member. Actively participating in the scientific life, he was tutor of graduate theses, as well as of doctoral dissertations, reviewing also post-doctoral ones; moreover, he organized scientific conferences. Poklewski strongly committed himself to the activities of the Toruń Scientific Society and the Association of Art Historians (beginning from the Secretary, to the President of the Toruń Branch, member of the Main Board, finally becoming its Deputy President). Furthermore, he sat on Museum Boards: at the National Museum in Gdańsk, District Museum in Toruń, and the Leon Wyczółkowski District Museum in Bydgoszcz. Prof. Józef Poklewski died in Toruń, and was buried there, too.

scholarly journals Dydaktyka historii sztuki na UKSW - refleksje praktyka dotyczące metodyki kształcenia

Artifex Novus ◽  
2020 ◽  
pp. 124-135
Author(s):  
Beata Lewińska
Keyword(s):  
Art History ◽  
Ministry Of Education ◽  
Study Program ◽  
History Of Art ◽  
History Of ◽  
The Subject ◽  
Teaching Programs ◽  
The University ◽  
Art Schools ◽  
Second World

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.

scholarly journals F.I. Shmit at Leningrad University at the Turn of the 1920s and 1930s

2021 ◽  
Vol 163 (3) ◽  
pp. 67-74
Author(s):  
V.G. Ananiev ◽  
Keyword(s):  
Art History ◽  
State University ◽  
Russian Art ◽  
Byzantine Art ◽  
History Of Art ◽  
History Of ◽  
The One ◽  
The University ◽  
The Relationship ◽  
Academic Content

This paper discusses an episode from the academic biography of Fyodor Ivanovich Shmit (1877–1937), a prominent Russian art historian and art theorist, museologist. The history of F.I. Shmit’s teaching at Leningrad State University during the 1920s and 1930s was covered. The scholar was an alumnus of the university and renewed the relationship with the alma mater following his return from Ukraine to Leningrad in the mid-1920s. Until 1932, F.I. Shmit taught here various disciplines of art history and theory. Since 1930, he had worked as the head of the Department of General History of Art and taught here such courses as History of Byzantine Art, History of Art in Feudal Europe, History of Ancient Art, History of Western European Art of the Age of Primitive Accumulation of Capital. He actively presented the results of his research in the form of academic reports. The analysis of F.I. Shmit’s curricula shows that, on the one hand, he tried to adapt them to the needs of the changing time, but, on the other one, he tried to preserve the traditional academic content. In many ways, his activities during this period helped to uphold the traditions of the St. Petersburg-Petrograd School of Art History. However, F.I. Shmit was deprived of the opportunity to continue his teaching due to the changes in the structure of higher education, which were typical for that period, as well as because of the growing pressure of the totalitarian state. In 1933, he was arrested, expelled from Leningrad, and murdered.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Art History vs. the History of Art

Art Journal ◽  
1984 ◽  
Vol 44 (4) ◽  
pp. 313
Author(s):  
Jules David Prown
Keyword(s):  
Art History ◽  
History Of Art ◽  
History Of

Cheshire Cat and Mickey Mouse: analysis, interpretation and the art of the La Tène Iron Age

1970 ◽  
Vol 36 ◽  
pp. 261-279 ◽  
Author(s):  
J. V. S. Megaw
Keyword(s):  
Iron Age ◽  
Art History ◽  
Mickey Mouse ◽  
Classical Archaeology ◽  
Italian Physician ◽  
History Of Art ◽  
Prehistoric Art ◽  
History Of ◽  
Definition Of ◽  
Wilhelm Worringer

Nearly seventy years ago Wilhelm Worringer first wrote that ‘ultimately all our definitions of art are definitions of classical art’ (Worringer, 1953, 132). Today, the study of Western European art history, old or modern, the products of peasant craft-centres or urban ‘schools’, has in the course of time developed its own methodology and, almost, mystique. In contrast, the study of many branches of prehistoric art in Europe and elsewhere is all too often seen as a mere extension of the skilled but subjective approaches of classical archaeology without considering the suitability of the latter's application. The use of the classical art-historian's intuitive methods built up not just from visual exprience but a detailed background of literary, historical and philosophical studies must in fact be almost entirely denied the student of prehistoric or primitive art. It is perhaps only natural that principles of classical art history should be applied to later European prehistory, though it is often difficult to arrive at a precise definition of these principles. It was Johann Joachim Winckelmann who made the first systematic application of categories of style to the history of art (Gombrich, 1968, 319). Sir John Beazley, the greatest of all modern classical art historians followed in this tradition basing attributions ‘on the grounds of tell-tale traits of individual mannerisms’ (Carpenter, 1963, 115 ff.) a scheme first applied to painting less than a century ago by the Italian physician Giovanni Morelli (Gombrich, 1968, 309 ff.) and followed at the turn of the nineteenth century in the study of Italian painting (Lermolieff, 1892–3). With Beazley it is, however, difficult to follow step by step his methods of work.

scholarly journals The grotesque as it appears in Western art history and in Ian Marley’s creative creatures

Literator ◽  
2009 ◽  
Vol 30 (1) ◽  
pp. 31-54
Author(s):  
R. Swanepoel
Keyword(s):  
Art History ◽  
Western History ◽  
Western Art ◽  
History Of Art ◽  
History Of ◽  
The Grotesque

This article presents a theoretical exploration and reading of the notion of the grotesque in Western history of art to serve as background to the reading of the original creatures in the “Tracking creative creatures” project.1 These creatures were drawn by Marley, based on imaginary creatures narrated by his five year-old son, Joshua. The focus in this article is on the occurrence of the grotesque in paintings and drawings. Three techniques associated with the grotesque are identified: the presence of imagined fusion figures or composite creatures, the violation and exaggeration of standing categories or concepts, and the juxtaposition of the ridiculous and the horrible. The use of these techniques is illustrated in selected artworks and Marley’s creatures are then read from the angle of these strategies.

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