Theoretical study deals with approaches towards art education of individuals with disabilities. Arts and Education are crucial cultural components and significantly affect the quality of life of people with disabilities in our society. Nowadays both components may serve to promote the ideas od lifelong inclusive education. Intervention in education is influenced by models of disability concepts reflecting different approaches. Art therapy and approach presenting the impact of disability on the basis of social reality is confronted with the presentation of disabled artist´s personality and his diversity. Unique environment of art education centres and art studios provides opportunity for cultivation of personality of a person with disability. The establishment of author with a disablity in artistic style art brut and outsider art in mainstream society can be considered as a form of socialization.
Currently, the ancient calligraphy and painting are widely used in decoration screen; however, the processing technic is normally based on manual manipulation. Normally, this kind of processing is not efficient, and with highly cost. In addition, it could not maintain the original artistic style in maximum. the paper proposes to process the sculpture of ancient calligraphy according to its photo, by adopting the CNC technology based on reverse engineering method, which enables to mostly keep the original artistic style, and to create the CNC code automatically with the assistant of image processing to achieve intelligent machining.
Two experiments were performed to examine how the subjective balance of a painting is created by its structural features and to determine if balance influences the way people look at paintings. Stimuli consisted of sixteen reproductions of twentieth-century paintings varying in artistic style and a reconstructed less-balanced version of each. Participants in experiment 1 determined the location of the balance center of each composition, assigned ‘weights’ to the pictorial features which contributed to the location of the balance center, and rated the picture for balance. It was found that design and museum professionals and individuals untrained in the visual arts were in good agreement as to the structural framework underlying the balance organization of a painting. For all participants, disruption of the balanced organizations of the original compositions led to reliable shifts in the location of the perceived balance centers of the originals compared with their less-balanced perturbations. Additionally, it was observed that particular features as such were not the origin of the balance phenomenon; rather, judgments concerning the balance structure and its center were dependent on the global integration of information across a wide area of the display field, but especially from its central region. Last, the subtle changes in balance structure between versions resulted in lower ratings of balance being assigned to the less-balanced perturbations by the design professionals only; the other two participant groups evaluated overall balance of the versions as comparable. In experiment 2, eye movements of a different group of untrained individuals were recorded as they performed similar tasks on the art stimuli. It was found that disruption of the balance structure of the original representational but not abstract compositions resulted in different regions of the original and perturbed versions being visually explored. Findings of both experiments are related to theoretical notions of balance.
The work of the iconographer Nikola Vasilev from Shumen is an interesting research topic because of the unique artistic style, longevity and productivity of the artist, as well as because of the wide geographical area of his artistic activity. The investigation of one of his newly discovered icons revealed an additional and extremely curious detail, which complements his manner as an artist and reinforces the perceptions of his personality – his personal handwriting. Present paper aims to express and substantiate the assumption that Vasilev had a habit of inscribing the backs of the icons he painted, taking notes on them. It is assumed that an inscription on the back of an icon “St. Minas with selected saints” signed by Nikola Vasilev displays his personal handwriting.
Salienteye: Maximizing Engagement While Maintaining Artistic Style on Instagram Using Deep Neural Networks
