scholarly journals Fine Arts: 5. The Iaşi School of Painting – Between Myth and Reality

2018 ◽  
Vol 16 (1) ◽  
pp. 196-202
Author(s):  
Mirela Ștefănescu
Keyword(s):  
Visual Art ◽  
Technological Development ◽  
Fine Arts ◽  
Artistic Expression ◽  
Visual Artists ◽  
Cultural Space ◽  
New Approach ◽  
Creative Style ◽  
The Moment ◽  
Art Critics

Abstract This paper analyzes a phrase which is specific of cultural space from Iași called "The Iași School of Painting", a term which, as art critics say, is distinguished by several features including the harmony of the composition, the chromaticism and refinement of artistic expression. So, we start in this study with the founders of the first institution of artistic education in Iasi, which strongly influenced the local creative style of plastic expression, then, we talk about the period in which was materialized fully the traditional way of the Iasi school of painting. After December 1989 the visual art from Iasi has gone through many changes, being outlined a new approach to the artistic phenomenon in the context of technological development and the globalization, the moment in which the visual artists tried new plastics formulas. Today the expression the Iasi School of Painting is only a metaphor which illustrates the connection with the glorious past of the great masters.

The art of deceit: Pseudolus and the nature of reading

1996 ◽  
Vol 46 (1) ◽  
pp. 152-174 ◽  
Author(s):  
A. R. Sharrock
Keyword(s):  
Visual Art ◽  
Art Criticism ◽  
Work Of Art ◽  
Works Of Art ◽  
Multiple Levels ◽  
The Moment ◽  
Art Critics

Reading is delusion. In order to read, we have to suspend certain standards of reality and accept others; we have to offer ourselves to deceit, even if it is an act of deception of which we are acutely aware. One way of considering this paradoxical duality in the act of reading (being deceived while being aware of the deception) is more or less consciously to posit multiple levels of reading, whereby the deceived reader is watched by an aware reader, who is in turn watched by a super-reader; and so it continues. The ancient art critics, obsessed as they were with deceptive realism, provide in anecdotal form a good example of such multiplicity of perception when they tell stories of birds trying to peck at painted grapes, horses trying to mate with painted horses, even humans deceived by the lifelikeness of works of art. Such stories act as easy but potent signifiers of ‘realism’ in ancient art criticism, by showing the reactions of a ‘naive reader’ (the animals) whose deception the aware reader can enter into but also see exposed. In verbal or visual art parading itself as realistic, the artistic pretence of a pose of reality is, at some level, intended to be seen as deceptive; when it is non-realistic, or anti-realistic, or even stubbornly abstract (which it rarely is), art still demands that the reader suspend ordinary perception. But deception alone is not enough: ‘deceit’ only becomes artistic when a viewer sees through it, for a work of art which is so lifelike that no-one realizes it is not real has not entered the realm of art. The appreciation of deception happens at the moment when the deception is undone, or by the imaginative creation of a less sophisticated reader who has not seen through the deceit. That is what happens in comedy, more overtly than in other artforms, but in the same way.

scholarly journals Margins Exposed La Expresion de la Comuna 13

2021 ◽  
Author(s):  
Mariana Restrepo Sierra
Keyword(s):  
Visual Art ◽  
Place Identity ◽  
Artistic Expression ◽  
Street Art ◽  
Community Members ◽  
Cultural Space ◽  
Cultural Expression ◽  
Interior Architecture ◽  
A Site ◽  
Slum Housing

<p>In many countries, slum housing begins with the primary intention to house marginal communities and develop to embody a saturation of culture. From this saturation of culture emerges a new experience of architecture. Things such as visual art appear and directly interact with the architecture’s facades and materiality. Such a site exists in Medellin, Colombia; it is called ‘La Comuna 13’. Here, the architecture is made up of poorly constructed brick houses, most of which are now covered with street art created by the community members. Each one of the murals has been painted in order to record a particular and significant event in this community’s painful and turbulent past. In fact, the community members have created a way to archive their history through an artistic expression manifested as a new layer added onto an architecture. </p> <p>This research looks to create a framework where the practice of interior architecture can start to respond to such artistic expression. It endeavours to develop a process of re-coding the community generated art in order to create different interior programmes and designs. This thesis proposes that this can be achieved by a close examination of street art and by breaking it down into ideas such as layering, place-identity and memory in order to derive an architecture from it. The process includes the use of various iterative formats. The design of interior architecture has not yet been approached from the perspective of allowing art to be the design driver and form generator. This will produce an interior architecture which not only responds to an artistic and cultural expression but also helps to enable this expression. The iterations form a set a different engagement with society. As such they include an urban provocation, an orchestrated invitation and a discrete retreat. </p> <p>One may argue that the proposed architecture has a motivation in exposing the recording of the trauma experienced by a community on the margins of a society onto the mainstream cultural space. </p>

scholarly journals Wystawy Związku Plastyków Pomorskich i Grupy Plastyków Pomorskich w Muzeum Miejskim w Bydgoszczy w latach 1930–1936

Porta Aurea ◽  
2018 ◽  
pp. 133-161
Author(s):  
Marta Borowska
Keyword(s):  
Interwar Period ◽  
Visual Arts ◽  
Turning Point ◽  
Fine Arts ◽  
Internal Conflict ◽  
Close Connection ◽  
Visual Artists ◽  
Local Branch ◽  
History Of ◽  
Art Critics

The displays of particular artistic associations in the Municipal Museum in Bydgoszcz between 1930 and 1936 are being discussed. The history of Pomeranian artistic associations is not a well-known subject, and no dedicated monographs have been written to date. It appears commonly in the history of the regional chapter of the Polish Association of Visual Artists (Związek Polskich Artystów Plastyków) located in Bydgoszcz. The basic sources include the Archive of the Leon Wyczółkowski District Museum in Bydgoszcz and information contained in Polish press of the period in question. There were two main goals to be achieved for the Pomeranian artists: while aspiring to equal the art represented by more important artistic centres of the country, to show a close connection with their own region and its Polish heritage. During the interwar period, a number of artistic organisations appeared in Bydgoszcz. The most significant were the local branch of the Society for the Encouragement of the Fine Arts (Towarzystwo Zachęty Sztuk Pięknych), established in September 1921, and the Artistic and Cultural Council (Rada Artystyczno-Kulturalna), founded in December 1934. The first exhibition of the Pomeranian Association of Visual Artists (Związek Plastyków Pomorskich) was opened in December 1930 as a summary of the Association’s achievements of that year. It comprised 92 works by 15 artists. Subsequent exhibitions in December 1931 and December 1932 served a similar purpose. The turning point in the history of Pomeranian artistic associations took place in 1933 when – as a result of an internal conflict – the Group of Pomeranian Visual Artists (Grupa Plastyków Pomorskich) was formed. The Group quickly became the leading artistic force of the region, with their first exhibition opening in December 1933. The 4th annual exhibition of the Group of Pomeranian Visual Artists took place in December 1934, simultaneously with the founding of the Artistic and Cultural Council (Rada Artystyczno-Kulturalna) in Bydgoszcz. The Council coordinated, implemented, and documented artistic movements in specially dedicated sections for literature, music, visual arts and radio, quickly becoming an intermediary between artists and their audience. Tanks to their efforts, the first Salon Bydgoski exhibition was organised in 1936. That very year the Group of Pomeranian Visual Artists changed their name to the Group of Visual Artists of Bydgoszcz. Both organizations lacked a well-defined artistic programme, whereas their members were mainly connected for non-artistic motivations, such as the possibility to exhibit their works in well-known institutions or prestige. All of the discussed displays were widely covered in the local press, especially by Henryk Kuminek and Marian Turwid, two leading art critics of the region.

scholarly journals Margins Exposed La Expresion de la Comuna 13

2021 ◽  
Author(s):  
Mariana Restrepo Sierra
Keyword(s):  
Visual Art ◽  
Place Identity ◽  
Artistic Expression ◽  
Street Art ◽  
Community Members ◽  
Cultural Space ◽  
Cultural Expression ◽  
Interior Architecture ◽  
A Site ◽  
Slum Housing

<p>In many countries, slum housing begins with the primary intention to house marginal communities and develop to embody a saturation of culture. From this saturation of culture emerges a new experience of architecture. Things such as visual art appear and directly interact with the architecture’s facades and materiality. Such a site exists in Medellin, Colombia; it is called ‘La Comuna 13’. Here, the architecture is made up of poorly constructed brick houses, most of which are now covered with street art created by the community members. Each one of the murals has been painted in order to record a particular and significant event in this community’s painful and turbulent past. In fact, the community members have created a way to archive their history through an artistic expression manifested as a new layer added onto an architecture. </p> <p>This research looks to create a framework where the practice of interior architecture can start to respond to such artistic expression. It endeavours to develop a process of re-coding the community generated art in order to create different interior programmes and designs. This thesis proposes that this can be achieved by a close examination of street art and by breaking it down into ideas such as layering, place-identity and memory in order to derive an architecture from it. The process includes the use of various iterative formats. The design of interior architecture has not yet been approached from the perspective of allowing art to be the design driver and form generator. This will produce an interior architecture which not only responds to an artistic and cultural expression but also helps to enable this expression. The iterations form a set a different engagement with society. As such they include an urban provocation, an orchestrated invitation and a discrete retreat. </p> <p>One may argue that the proposed architecture has a motivation in exposing the recording of the trauma experienced by a community on the margins of a society onto the mainstream cultural space. </p>

scholarly journals 12. The Visual Art from Iasi between Tradition and Innovation

2017 ◽  
Vol 14 (1) ◽  
pp. 221-226
Author(s):  
Mirela Ştefănescu
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Transition Period ◽  
Communist Regime ◽  
New Approach ◽  
National University ◽  
Scientific Potential ◽  
The Aesthetic ◽  
The Moment ◽  
New Generation

Abstract After December 1989 in visual art from Iasi were produced numerous changes which have contributed to a new approach of the artistic phenomenon. That was the moment when a new generation of artists appeared and who, unshackle by the rigors of the communist regime, they have created artworks by experimenting the most varied ways of visual expression. An important aspect of this transition period is the place which visual art has it in the culture from Iasi and the aesthetic trends learned by the new generation alongside older artistic directions define the value of the contemporary cultural heritage from Iasi. Also, an important role in the presentation of the visual art from Iasi is the artistic education, which it‟s in a constant development with the advent of new specializations within the Faculty of Visual Arts and Design, highlighting the artistic and scientific potential of the professors and the students of „George Enescu“ Național University of Arts from Iasi.

EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"

2020 ◽  
pp. 138-150
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  
Keyword(s):  
Visual Art ◽  
Spatial Organization ◽  
Fine Arts ◽  
Environmental Design ◽  
Exhibition Design ◽  
Fine Art ◽  
Museum Of Fine Arts ◽  
Artistic Images ◽  
Fashion Designers

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

ТРАНСФОРМАЦІЙНІ ПРОЦЕСИ В СФЕРІ КУЛЬТУРИ : НОВІ ПІДХОДИ ТА ТЕНДЕНЦІЇ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Fine Arts ◽  
Space Region ◽  
Cultural Environment ◽  
Art Exhibitions ◽  
National Union ◽  
Cultural Space ◽  
Artistic Activity ◽  
The World ◽  
Creative Experience

Аналізується важливість і проблемний ряд здійснення реформи місцевого самоврядування в регіонах країни і шляхи її розв’язання у галузі культури. Пропонуються найбільш ефективні кроки для управлінських структур різних рівнів щодо зміни ставлення як представників керівної ланки, так і місцевого населення щодо різноманітних культурних практик. Акцентується увага на ролі методичних служб галузі у процесі здійснення цієї реформ. Наголошено на використанні досвіду інших країн в активізації місцевого населення у цьому процесі. Здійснено спробу запропонувати ефективні, на думку авторів, рішення у питанні проведення зазначеної реформи. Акцент зроблено на освітній чинник. . Ключові слова: культурні практики, місцеве самоврядування, соціальна активність, заклад вищої освіти, організаційно-культурна діяльність.   On the example of organizational, cultural and artistic activity the practice of holding anniversary art exhibitions of regional artistsOleksandr Harvat (photo art) and the first Head (1991-1998) of the regional department of the National Union of Artists Kostiantyn Lytvyn (fine arts, graphics)is analyzed. The specificity of their creative experience, influence on the cultural environment is considered. The most striking pages of the creative biographiesof each of them and the influence of exhibition activity on the artistic environment of the region are revealed. The importance of continuing to preserve the culturalheritage of regional artists in order to position Ukraine in the cultural space of the world is emphasized. Keywords: creative biography, artistic activity, exhibit, cultural space, region.

Perceiving at a distance: enaction, exteriority and possibility – a tribute to John Stewart

2021 ◽  
pp. 105971232110310
Author(s):  
Charles Lenay
Keyword(s):  
Experimental Study ◽  
Perceptual Experience ◽  
Spatial Perception ◽  
Distant Object ◽  
New Approach ◽  
Second Stage ◽  
The Moment ◽  
Two Stages

The aim of this article is to offer a new approach of perception regarding the position of a distant object. It is also a tribute to John Stewart who accompanied the first stages of this research. Having already examined the difficulties surrounding questions of the perception of exteriority within the framework of enactive approaches, we will proceed in two stages. The first stage will consist of an attempt to explain distal perception in terms of individual sensorimotor invariants. This poses the problem but fails to solve it. The second stage will propose a new pathway to account for spatial perception; a pathway that does not deny the initial intuitions of the autopoietic enactive approaches, but one which radically changes the conception of cognition by considering, from the perceptual stage, the need to take into account interindividual interactions. The protocol of an original experimental study will characterize this new approach considering the perceptual experience of objects at a distance, in exteriority, in a space of possibilities without parting from the domain of interaction. To do this, we have to work at the limits of the perceptual crossing, that is, at the moment when the perceptual reciprocity between different subjects begins to disappear.

Feelings of Guilt and Fantasies in Life Experiences of Brazilian Parents Due to Death of their Newborn: A Clinical-qualitative Study Conducted at a University Hospital

2017 ◽  
Vol 41 (S1) ◽  
pp. S616-S616
Author(s):  
L. Rodrigues ◽  
J.V. Freitas-de-Jesus ◽  
G. Lavorato-Neto ◽  
D.D. Lima ◽  
E.R. Turato ◽  
...  
Keyword(s):  
Neonatal Intensive Care ◽  
Life Experiences ◽  
Technological Development ◽  
Emotional Experience ◽  
University Hospital ◽  
Parents And Children ◽  
Cultural Pattern ◽  
Competing Interest ◽  
The Moment ◽  
The Relationship

IntroductionThe relationship between parents and children is a complex link. In the process of pregnancy-birth-puerperium, frequent feelings such as responsibility, love, fear, uncertainty, generate strong expectations at birth. The death of a newborn may not be perceived as natural by the parents, considering the local culture and the context of great technological development of neonatology.ObjectiveTo explore possible guilt and fantasies in life experiences of parents during mourning process due to death of their newborn.MethodClinical-qualitative design, a particularization of qualitative methods here applied in clinical assistance settings with highlight to psychological aspects. Data collection with the technique of semi-directed interview with open-ended questions, in-depth. Sample intentionally constructed, with closure by theoretical saturation of information. The participants were 7 parents, mourning by the death of their child at the neonatal intensive care unit, in a university hospital of Campinas, São Paulo State.ResultsFeelings of guilt - conscious or not - lead to an internal and particular movement so that mourning can be lived. The participants showed certain embarrassment, accompanied by natural suffering facing to the cultural pattern that permeates the emotional experience. It predicts types of psychological meanings that the experience will give to the person.ConclusionHealth professionals working with bereaved parents should consider more deeply the moment these one experienced, with emphasis on the details of the death scenery, beside the problems of illness and death properly so called.Disclosure of interestThe authors have not supplied their declaration of competing interest.

Methods for Digital to Analog Conversion of Arts Image Fusion Based on Multimedia Technology

2014 ◽  
Vol 602-605 ◽  
pp. 3886-3890
Author(s):  
Fang Li Wang ◽  
Jun Fang Wu
Keyword(s):  
Image Fusion ◽  
Rapid Development ◽  
Fine Arts ◽  
Empirical Method ◽  
Artistic Expression ◽  
Multimedia Technology ◽  
Multimedia Environment ◽  
Expression Behavior ◽  
Digital To Analog ◽  
The Empirical Analysis

Fine arts, in recent years, with the rapid development of information technology, its diverse artistic expression trends to be more obvious, at the same time, the artistic expression based on multimedia has been paid more attention by the fields. This paper firstly analyzes the general characteristics of art image fusion process in multimedia environment. On this basis, the digital-to-analog conversion (DAC) method of multimedia artistic expression is proposed, which takes the Gauss Pyramid as basis. In order to verify the scientificity of this method, this paper adopts the empirical method to carry on the empirical analysis. The results show that multimedia artistic expression behavior of fine arts based on this method is significant, and has strong practicability and operability.

Sign in / Sign up

Export Citation Format

Share Document