scholarly journals THE ROLE OF CUSTODIAN IN THE FORMATION OF ART WORKS COLLECTION (on the example of educational and methodological funds of the Drawing Department of the National Academy of Fine Arts and Architecture)

2021 ◽  
pp. 59-65
Author(s):  
Yuliya Maуstrenko-Vakulenko
Keyword(s):  
Art Education ◽  
Professional Education ◽  
Negative Impact ◽  
Fine Arts ◽  
Job Responsibilities ◽  
Industrial Training ◽  
Graphic Arts ◽  
History Of ◽  
Main Activity

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.

scholarly journals ON ADVERTISING TEXTS ORGANIZATION IN THE CONTEXT OF THE CULTURAL APPROACH IMPLEMENTATION TO LANGUAGE TEACHING: LOGICS OF PENDANT

2021 ◽  
pp. 44-55
Author(s):  
Pavel Melnyk
Keyword(s):  
Fine Arts ◽  
Main Stage ◽  
Advanced Level ◽  
Authentic Material ◽  
General Rules ◽  
History Of ◽  
Main Activity ◽  
Didactic Material ◽  
Small Parts

The article deals with the analysis of the didactic potentialof advertising as an authentic material used in the study offoreign languages. At the lessons focusing on RegionalStudies issues, advertising texts are thought to be the basis forimplementing all of the education system components: theselection of subject and language material, presentation ofselected material for students, and its further activization.At the same time, the authentic material has certain features,including fragmentation, division into small parts, and mosaics.Manifestations of fragmentation in fiction, painting, music andInternet discourse are systematized. Analyzing the results ofprevious research, promising and retrospective activities inrelation to the main stage of work are discovered, aimed atpartially smoothing the fragmentary nature of the material, workwith it and socio-cultural ideas that are formed in students. Themain part of the article substantiates the effectiveness of anotherway to achieve the integrity and coherence of educationalmaterial. It is about emphasizing the connection between twoadjacent advertising texts, their simultaneous demonstration anduse. The idea of pendant corresponds to this way of organizingmaterial in the fine arts. The logic of the pendant is thatcombining two objects makes it possible to observe, study andcompare, creating a volume. The role of comparison in learningis considered and relevant tasks based on advertising areproposed. It turns out that the students’ heuristic search createsthe optimal psychological basis to obtain objectively correctsocio-cultural information when comparing connections andrelationships between paired texts as well as objects andphenomena that are reflected in them. The principle of pendantis also embodied in the famous game Memory. The pairs areseparate advertising texts of culturally oriented topics («Yearin France: dates, holidays, events», «French regions», «Paris»,«History of France»), which together are able to present anobject / phenomenon / event from different sides, with differentfeatures, in dynamics. The general rules of this game andadditional recommendations on how to play are given. Theactivity content is illustrated by the description of the denotationcard related to the history of France. The proposed methods ofwork may be included in the main activity aimed at forminglinguistic and socio-cultural competency among students withthe use of advertising materials. The didactic material andmethods of working with it can also be used in studying Frenchat the advanced level in secondary school.

scholarly journals Una historia española del aguatinta = A Spanish History of Aquatint

2018 ◽  
pp. 367
Author(s):  
Inocente Soto Calzado
Keyword(s):  
Driving Force ◽  
Fine Arts ◽  
Theory And Practice ◽  
Graphic Arts ◽  
Spanish History ◽  
The World ◽  
History Of ◽  
Technical Proficiency ◽  
Artistic Theory ◽  
Graphic Work

Teodoro Miciano fue nombrado académico de Bellas Artes a punto de cumplir 70 años. Su discurso de ingreso habla con total naturalidad de práctica y teoría artística. Joven ilustrador para revistas y maduro grabador con excepcionales conocimientos y dominio técnico, su ensayo toma como eje conductor una de las técnicas más pictóricas de la calcografía, el aguatinta, trazando una breve pero ambiciosa historia. Preocupado por el devenir de las artes gráficas, plantea la problemática realidad de la obra gráfica original y del arte de las ediciones limitadas. Traza las líneas maestras del grabado europeo, describiendo profusamente la gráfica de Goya y reconociendo los hallazgos plásticos de Picasso en el mundo del grabado. Se analiza la clarividencia de sus ideas y su vigencia en la actualidad, con desarrollos en otros países que no han terminado de producirse en España.Teodoro Miciano was named Academician of Fine Arts nearing 70 years old. His Entrance speech talks with total naturalness about artistic theory and practice. Young illustrator for magazines and mature printmaker with exceptional knowledge and technical proficiency, his essay takes as the driving force one of the pictorial techniques of engraving, aquatint, tracing  a short but ambitious story. Concerned about the future of the graphic arts, presents the problematic reality of the original graphic work and the art of the limited editions. He traces the lines of European engraving, profusely describing the graphic of Goya and recognizing the plastic finds of Picasso in the world of engraving. The clairvoyance of their ideas and their validity in the present is analyzed, with developments in other countries that have not finished producing in Spain.

scholarly journals Innovations in modern choreographic professional education

2017 ◽  
pp. 59-61
Author(s):  
A. V. Vyetrynska
Keyword(s):  
Art Education ◽  
Professional Education ◽  
Modern System ◽  
History Of ◽  
University Training ◽  
And Training

The article describes the history of the study of issues on art education. It analyses modern system of higher choreographic training. It describes actual forms of university training and innovations of 21 century in teaching specialized courses and training of choreographers.

scholarly journals Art education in China in the XX century: national traits, international trends, and Russian influence (on the example of the Central Academy of Fine Arts)

2021 ◽  
pp. 54-65
Author(s):  
Shujing Wang
Keyword(s):  
Art Education ◽  
Fine Arts ◽  
Education Institution ◽  
Modern China ◽  
Chinese Education ◽  
International Trends ◽  
National School ◽  
History Of ◽  
Modern Artists ◽  
Education In China

The Central Academy of Fine Arts is the only higher education institution of fine arts under the jurisdiction of the Ministry of Education of the People's Republic of China. The history of the National Art School in Beiping dates back to the establishment of the National School of Fine Arts in Beijing in 1918, which was supported by the prominent pedagogue of art and its first director Cai Yuanpei. It was the first national school in the history of China, laid the foundation for the modern Chinese education in the field of fine arts. This article is dedicated to the analysis of the key events of more than a century-long history of the school, which allows tracings the evolution of the Chinese art education, and gives a better perspective on the role of modern China in the art world. The novelty of this work lies consists in description of the process of establishment of art education in China in the XX century, classification of the national traits of this period on the example of the Central Academy of Fine Arts in Beijing, as well as analysis of the Soviet impact upon the Chinese education in the field of art history. The international cooperation with the Russian School of Painting, namely I. E. Repin Academy of Fine Arts had a beneficial impact. The study of Chinese students in the USSR allowed the following generations to implement such valuable experience. The ancient techniques and plotline received a new life in the works of modern artists, which are justifiably regarded as the achievement and progress in the national culture.

scholarly journals PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA

2019 ◽  
Vol 3 (1) ◽  
pp. 46-51
Author(s):  
Nuning Y Damayanti
Keyword(s):  
Formal Education ◽  
Fine Arts ◽  
Study Program ◽  
Graphic Arts ◽  
Graphic Art ◽  
Human Needs ◽  
Printing Technique ◽  
History Of ◽  
Institute Of Technology ◽  
Areas Of Interest

Conventional Graphic Art is understood by academics through the history of its development.The Chinese nation is thought to have started the tradition of print as the forerunner of graphicart in its 'primitive' era, while the Romans began etching-glass techniques for portraying gladiators.Furthermore, the Japanese in the 8th century had begun their first authentic print by tracing andprinting Buddhist faces. When the Europeans used it as a printing technique as a medium forartistic expression, the word "printmaking" emerged, which was later adopted by the field of artuntil now. Later the graphic arts were increasingly used to reproduce various human needs. Inearly 1900 the Dutch introduced the technique of Graphic Printing in education at the BandungTechnical College is now the Bandung Institute of Technology. History and development ofIndonesian Graphic Arts in history began at Institute of Technology Bandung (ITB) as the firstacademic provider of formal education in the Department of Fine Arts, then now a Faculty ofFine Arts and Design (FSRD) of ITB. Conventional Graphic Printing Techniques become oneof the main areas of interest, the Graphic Arts Studio of the Fine Arts Department, then becamethe Fine Art Study Program and the Graphic Art Printing Technique until now is still the mainarea of interest and subject matter in the curriculum of the FSRD ITB Fine Arts Study Program.

scholarly journals 9. The Critical Role of Art Education in Community Building as Viewed by Art Teachers. A Qualitative Study

2020 ◽  
Vol 20 (1) ◽  
pp. 325-334
Author(s):  
Gabriela Monica Assante ◽  
Florin Enescu
Keyword(s):  
Art Education ◽  
Community Building ◽  
Fine Arts ◽  
Critical Role ◽  
Art Teachers ◽  
Educational Process ◽  
Community Life ◽  
Musical Interpretation ◽  
Role Of Teachers

AbstractThe present study aims to describe the ways in which art education impacts community life through art products. The sample consists of 32 teachers/creators in various fields of work such as fine arts, composition, literature, musical interpretation, choreography and acting. Categorical content analysis is used for data analysis. The highest-ranking emerging theme is related to the means of educational intervention in the community through art. Artistic education leads to empowerment and emancipation by provoking people to think differently while the exposure to artistic creations has a therapeutic effect and contributes to identifying new ways of action. Artists in the role of teachers feel a responsibility both for the educational process and also for the emotional message that their creative product transmits to the audience.

scholarly journals Porcelain interior plastic of the 1950s in museums and private collections in China

2021 ◽  
Vol 12 (1) ◽  
pp. 58-67
Author(s):  
Yu Wang ◽  
◽  
Zhengding Liao ◽  
Keyword(s):  
National Culture ◽  
Fine Arts ◽  
Folk Art ◽  
Art Museum ◽  
Republic Of China ◽  
Porcelain Production ◽  
History Of ◽  
The 1950S ◽  
Private Collections

In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.

Maria Rayevska-Ivanova. Pages of Memoirs

2021 ◽  
Vol 2021 (02) ◽  
pp. 279-289
Author(s):  
L. Sokolyuk ◽  
Keyword(s):  
Art Education ◽  
Significant Contribution ◽  
Art Museum ◽  
Russian Empire ◽  
Arts And Crafts ◽  
Spiritual World ◽  
History Of ◽  
Industrial School

M. Rayevska-Ivanova (1840–1912), born in Kharkiv region, was the first female artist in the entire Russian Empire. For five years (1863–1868) she studied the art profession abroad, in particular from Dresden Professor L. A. Ergardt. Being well guided in the then directions of the development of art education and understanding the role of the movement of arts and crafts, in 1869 she opened the only art-industrial school on the Ukrainian territory, in Kharkiv. She constantly kept in touch with another enthusiast of this time-demanded type of art education from St. Petersburg – Dmytro Grygorovych. For over 27 years she taught free of charge at her school, making it public. She prepared about 900 pupils. Her significant contribution to the development of art education in Ukraine is still underestimated. However, the National Art Museum of Ukraine in Kyiv preserves the insufficiently studied and unpublished memoirs of this ascetic, which represented a unique document of that era, revealing the spiritual world of the Ukrainian intelligentsia, its ideals and aspirations. Some fragments of these memoirs are offered below, which can become a serious addition to the study of the role and place of Maria Rayevska-Ivanova in the history of Ukrainian art. As confirmation, some reproductions of educational works of students of Rayevska-Ivanova’s school are given, which are preserved in the library of the Kharkiv State Academy of Design and Arts. I used the embroidery “Landscape” by S. Yarotsky from my family archive, which is indirectly related to the artistic environment of Rayevska-Ivanova, in order to draw attention to the support of crafts as one of special merits of the school founder.

Technology in the Fine Arts Classroom

2011 ◽  
pp. 211-239
Author(s):  
Marilyn J. Narey
Keyword(s):  
Web Sites ◽  
Fine Arts ◽  
Subject Area ◽  
Teaching With Technology ◽  
Lesson Design ◽  
Technology In The Classroom ◽  
Art And Technology ◽  
History Of ◽  
Evaluation Rubrics

This chapter of Teaching With Technology Across the Curriculum assists the educator in understanding the valuable role of art and technology in the classroom and seeks to convey the potential of this “dynamic duo” to motivate, instruct, and inspire students and teachers. It also explores the long history of technology in the fine arts discipline and introduces past and current uses of instructional technology in the classroom. Several evaluation rubrics are included to determine appropriate fine arts software and Web sites as well as provide criteria for lesson design when incorporating art and technology into a subject area.

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