THE ACTUALIZATION OF PROFESSIONAL COMPETENCES OF TEACHERS AT CHILDREN’S ART SCHOOLS AS PART OF THE CREATION OF EDUCATIONAL AND METHODICAL COMPLEX OF THE CURRICULUM IN THE FIELD OF FINE ARTS

2017 ◽  
Vol 22 (2 (166)) ◽  
pp. 63-72
Author(s):  
I.V. Lovtsova ◽  
◽  
2021 ◽  
pp. 45-56
Author(s):  
Ольга Владимировна Двизова

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.


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.


2020 ◽  
Vol 11 (1) ◽  
pp. 216-220
Author(s):  
Elitsa Aleksandrova ◽  

Children’s art activity is related to the creation of a certain art product. The functional purpose of the pictorial work is associated with the bright emotionality and empathy of students from the initial stage to the unusual, fairytale and fantasy. The creative activity of the students is analyzed. The need for innovative forms of pictorial activity has been established.


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>


2021 ◽  
Vol 12 (1) ◽  
pp. 186-190
Author(s):  
Elitsa Alexandrova ◽  

The artistic deformation in children’s art is done unconsciously. It is observed in the change in the shape, proportion and color of an object or object. This is due to the exceptional desire of the child to convey greater expressiveness of his drawing, emphasizing the most important image for him. The deformation characteristic of this age period conveys a uniqueness and uniqueness of the children’s drawing. The use of specific methods of fine arts contributes to the stimulation of creative imagination and the manifestation of individual inclination to different ways of deformation. Stimulation of creative thinking increases the expressiveness of children’s fine arts. appearances.


Art Scents ◽  
2020 ◽  
pp. 209-228
Author(s):  
Larry Shiner

Chapter 11 considers the claim that the best perfumes should be classified as part of the fine arts. The chapter argues that from the perspective of contemporary aesthetic definitions of fine art, perfumes have all it takes to be fine art since they have complex structures that develop over time that can be used to represent ideas and express emotions. Yet the second half of the chapter argues that from the perspective of contemporary contextual and historical definitions of art, perfumes are more like design art than fine art. The contextual case against fine art status is based on a model of art and design practices that involves roles, intentions, media, norms, and institutions. If we compare the creation of a commercial perfume designed by a perfumer with a “perfume” commissioned by an artist for an installation, commercial perfume looks like a design art. Chapter 11 ends in an impasse.


Author(s):  
Daniel P. Cook ◽  
Robert Wysocki

The College of Engineering and the College of Fine Arts at UNLV are collaborating in the creation of an interdisciplinary program in Entertainment Engineering and Design. In one of the first classes that has been offered in the program, the students learn materials science fundamentals through applications in basic fabrication techniques. Combining traditional lecture sessions from engineering and studio sessions from fine arts, the students work in teams on projects derived from the entertainment industry. This paper describes the format of the course, the projects that the students are assigned and how the course will fit into the overall curriculum of the new program.


IAWA Journal ◽  
2005 ◽  
Vol 26 (3) ◽  
pp. 273-298 ◽  
Author(s):  
Kristof Haneca ◽  
Ria De Boodt ◽  
Valérie Herremans ◽  
Hilde De Pauw ◽  
Joris Van Acker ◽  
...  

Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and anatomical features of 209 wooden sculptures from collections of different museums were analyzed. Tree-ring analysis proved the 15th–16th century origin of the sculptures but also allowed a detailed technical characterization of the carvers' basic material. The striking uniformity of the grain and the sawing pattern revealed that medieval woodcarvers preferred quarter sawn oak lumber, imported from the Baltic area. Stylistic and iconographic hypotheses concerning the current setting of several altarpieces could be founded, based on the wood anatomical and dendrochronological observations. Intensive collaboration between wood biologists and art historians proved to be essential in order to reconstruct the creation process of carved wooden altarpieces.


2016 ◽  
Vol 25 (1) ◽  
pp. 18-27 ◽  
Author(s):  
Bert Hansen ◽  
Richard E Weisberg

Biographers have largely ignored Louis Pasteur's many and varied connections with art and artists. This article is the second in a series of the authors' studies of Pasteur's friendships with artists. This research project has uncovered data that enlarge the great medical chemist's biography, throwing new light on a variety of topics including his work habits, his social life, his artistic sensibilities, his efforts to lobby on behalf of his artist friends, his relationships to their patrons and to his own patrons, and his use of works of art to foster his reputation as a leader in French medical science. In a prior article, the authors examined his unique working relationship with the Finnish painter Albert Edelfelt and the creation of the famous portrait of Pasteur in his laboratory in the mid-1880s. The present study documents his especially warm friendship with three French artists who came from Pasteur's home region, the Jura, or from neighboring Alsace. A forthcoming study gives an account of his friendships with Max Claudet and Paul Dubois, both of whom made important images of Pasteur, and it offers further illustrations of his devotion to the fine arts.


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