scholarly journals The Teaching Didactics of Álvaro Siza

2019 ◽  
Author(s):  
Pedro Luz Pinto ◽  
Keyword(s):  
Fine Arts ◽  
Assistant Professor ◽  
The State ◽  
The Arts ◽  
Arts Programs ◽  
One Year ◽  
Alvaro Siza

Álvaro Siza Vieira (1933) began his training at the Architecture Department of the School of Fine Arts in Porto (EBAP) in 1949, one year after the 1st Congress of Portuguese Architects (1948), which became known as the congress of modern architects. There were two fine arts schools at the time in Portugal, in Porto and Lisbon (EBAP and EBAL), both with an equivalent curriculum that was coordinated by the state. Siza attended the course based on the “beaux arts” programs of 1932, concluding the curricular part of his course in 1955 and presenting his final graduation design in 1965. But by this time, Portuguese education in the arts had already switched to “modern”curricula (1952-57 Reform). The following year, having already seen some of his important works built, Siza began his career as assistant professor at the school in Porto.

Dr. Atl (1875–1964)

2018 ◽  
Author(s):  
June I.K. Black
Keyword(s):  
Public Education ◽  
Home Country ◽  
Fine Arts ◽  
The State ◽  
Landscape Painting ◽  
The Arts ◽  
Mexican Society ◽  
Political Activist ◽  
Technical Innovations

Dr. Atl was a Mexican artist, author, political activist, and amateur vulcanologist. Born Gerardo Murillo in 1875 and raised in Guadalajara in the state of Jalisco, Dr. Atl was trained in drawing and the use of color by the Brazilian-born artist Félix Bernardelli, from whom he also learned of the European artistic vanguard. When Murillo received a scholarship from the Mexican Ministry of Public Education and Fine Arts in 1897, he traveled first to France, where he encountered the work of the Impressionists and Post-Impressionists. He then traveled to Italy, where he learned of the Divisionists, a group whose technical innovations in painting motivated his own later reimagining of the medium’s possibilities. From 1911–1914, the artist lived and worked in Paris. Throughout the early 1900s, Dr. Atl stayed connected to the arts scene in Europe, although he rejected what he referred to as the barbarity of Futurism and Cubism. Upon returning to his home country in 1914, Dr. Atl revolutionized the Mexican approach to depicting landscapes. Building on Mexico’s already strong tradition of landscape painting—most notably the work of Luis Coto (1830–1891), Daniel Thomas Egerton (1797–1842), Eugenio Landesio (1810–1879), and José María Velasco (1840–1912)—he introduced Mexican society to the techniques he had learned in Europe and brought a new expressiveness to the genre.

MY WORLD AS I REMEMBER IT: AN INTERVIEW WITH CHRISTOPHER BUTTERFIELD

Tempo ◽  
2017 ◽  
Vol 71 (282) ◽  
pp. 6-17 ◽  
Author(s):  
Anna Höstman
Keyword(s):  
New York ◽  
Fine Arts ◽  
Assistant Professor ◽  
The State ◽  
State University ◽  
School Of Music ◽  
The University ◽  
A Performance

AbstractChristopher Butterfield is a composer and composition teacher. His music has been performed across Canada and in Europe, with recordings on the CBC, Artifact, and Collection QB labels. He is currently the Director of the School of Music in the Faculty of Fine Arts at the University of Victoria. Christopher was born in 1952 in Vancouver, BC. He studied composition at the University of Victoria with Rudolf Komorous and at the State University of New York at Stony Brook with Bülent Arel. He was a performance artist, rock guitar player and composer while living in Toronto between 1977 and 1992, after which he returned to the University of Victoria as Assistant Professor of Composition.I studied composition with Christopher between 2000 and 2005. Earlier this year, I had the opportunity to sit down with him in Victoria. During our interview, I asked him about his life and work, and for his thoughts on how Czech-Canadian composer Rudolf Komorous has influenced composition in Canada over the last few decades.

scholarly journals Opportunities and Challenges With Creative Community Partnerships

2020 ◽  
Vol 4 (Supplement_1) ◽  
pp. 814-814
Author(s):  
Melinda Heinz
Keyword(s):  
Older Adults ◽  
Fine Arts ◽  
Lessons Learned ◽  
Term Care ◽  
Care Community ◽  
The Arts ◽  
Arts Programs ◽  
Materials Used ◽  
Meaningful Experiences ◽  
The Impact

Abstract Arts programming can address chronic conditions prevalent among older adults. An overview of an implementation of the revised nationwide Opening Minds through Arts (OMA) program anchors the symposium. The paper reports an implementation by an area university and an eldercare facility to recruit and train student volunteers to collaborate with persons living with dementia, and create paintings for a public exhibition. The Arts for a Lifetime Program used bi-weekly student led programming in a long-term care community; the paper includes an overview of materials used throughout the program and reports resident preferences for materials. A report of results of an ethnographic investigation of the impact of creative aging fine arts programs on older adults adds information about how participation might influence the older person’s self-esteem or perceptions of aging. The presentation about creation of music modules investigates the potential of music therapy for the promotion of healing for older adults managing pain. The final paper describes the methodology lessons learned from ARTmail, a community engaged study of the benefits of a structured participatory arts program for older adults with memory symptoms or cognitive impairment. Presentations in this symposium inform identification and development of opportunities to create and engage in meaningful experiences with older adults.

Nawar, Ahmed (1945–)

2018 ◽  
Author(s):  
Sarah Dwider
Keyword(s):  
Fine Arts ◽  
Fine Art ◽  
Bachelor's Degree ◽  
The State ◽  
Mural Painting ◽  
War Of Attrition ◽  
Arts And Sciences ◽  
The Arts ◽  
San Fernando ◽  
The Relationship

Born in El-Shin in the Gharbia province of Egypt, Ahmed Nawar received his bachelor’s degree from the Faculty of Fine Arts at Helwan University in Cairo in 1967. Following his graduation, Nawar was called for service in the Egyptian military and was deployed to the Suez border during the War of Attrition. His experience during the war affected him deeply and would find expression in his later artworks. In 1971, Nawar traveled to Spain and in 1974 received a second degree in graphics from the San Fernando Academy in Madrid, as well as a degree in mural painting and a doctorate equivalent in painting in 1975. As a painter, sculptor, and graphic printmaker, Nawar’s work focuses on the interplay of linear and organic forms, often integrating mathematical or technological imagery. In the 1980s, Nawar was a key member of the Mihwar (Axis) Group, an artist collective that focused on the relationship between unity and individuality in art. In 1982, Nawar founded the Faculty of Fine Art at Menia University. He served as the faculty’s dean and chair of the graphics department until he was appointed head of the Egyptian Ministry of Culture’s Sector of Fine Arts in 1988. In recognition of his contributions to the arts, Nawar was awarded the State Order of Arts and Sciences, First Class, in 1979.

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

Rekonstruktion des Ursprungs und Neudatierung zweier magischer Gemmen mit Hilfe einer Zauberzeichensequenz

2020 ◽  
Vol 147 (2) ◽  
pp. 153-163
Author(s):  
Kirsten Dzwiza
Keyword(s):  
Comparative Study ◽  
Fine Arts ◽  
17Th Century ◽  
The State ◽  
Roman Period ◽  
16Th Century ◽  
New Findings ◽  
State Museum ◽  
Museum Of Fine Arts ◽  
First Time

SummaryThere are only a few sequences of ancient magic signs known to us today that have been preserved on multiple artefacts. A previously unnoticed sequence of 17 signs on a gem in the Museum of Fine Arts in Vienna occurs with minor but significant variations on two other gems in the State Museum of Egyptian Art in Munich. The Viennese gem is dated to the 16th century and is documented as a drawing in a 17th century publication. The first Munich gem has been assigned to the Graeco-Roman period. The second gem, which, according to the inventory card of the museum, also belongs to the Graeco-Roman period, is published here for the first time. A comparative study of the three gems and the drawing has lead to a number of new findings, including the re-dating of the Munich gems.

Modernismo: The Catalan Renaissance of the Arts (Outstanding Dissertations in the Fine Arts)

1980 ◽  
Vol 62 (2) ◽  
pp. 333
Author(s):  
Phyllis Braff ◽  
Joseph Phillip Cervera
Keyword(s):  
Fine Arts ◽  
The Arts
Sign in / Sign up

Export Citation Format

Share Document