Nagdi, Omar el- (1931--)

2018 ◽  
Author(s):  
Sarah Dwider
Keyword(s):  
Art Education ◽  
Fine Arts ◽  
Three Dimensional ◽  
Bachelor's Degree ◽  
Full Abstraction ◽  
Folk Traditions ◽  
The 1960S ◽  
Applied Arts

Omar el-Nagdi began his art education at the Faculty of Fine Arts in Cairo and graduated with a bachelor’s degree in 1953. He received a second bachelor’s degree in 1957 from the Faculty of Applied Arts in Cairo. In addition to his studies in Egypt, El-Nagdi studied abroad in Russia, Italy and Holland. Beginning in 1957, El-Nagdi served as an instructor at the Faculty of Applied Arts in Cairo. Omar el-Nagdi’s early works were primarily figural paintings inspired by Egyptian folk traditions. In the 1960s, he shifted to full abstraction and the calligraphic Arabic letters became a prominent theme in his work. El-Nagdi also created a running series of sculptural works that translated the angular figures from his early paintings into three-dimensional forms.

scholarly journals SCIENTIFIC RESTORATION OF WORKS OF DECORATIVE AND APPLIED ART IN THE SYSTEM OF HIGHER ART EDUCATION

2021 ◽  
pp. 92-106
Author(s):  
Natalia Revenok
Keyword(s):  
Art Education ◽  
Organic Materials ◽  
Fine Arts ◽  
Important Place ◽  
Stage Of Development ◽  
Works Of Art ◽  
Applied Art ◽  
And Storage ◽  
Cultural Monuments ◽  
Applied Arts

Abstract. The article is devoted to the issues of scientific restoration of works of decorative and applied art in the system of art education at the National Academy of Fine Arts and Architecture. The processes of formation and improvement of the experience of the artist-restorer for the preservation of historical and cultural monuments are defined. The importance of solving the cultural and professional development of the future artist-restorer in the field of restoration of works of decorative and applied art is emphasized. The topic studied by the author raises a number of issues of the methodology of studying works of decorative and applied arts in the research work of future artists-restorers. The purpose of the study is to develop and substantiate basic theoretical know­ledge in the field of research, restoration, conservation and storage of works of decorative and applied arts from metal, ceramics and organic materials. Training of restoration specialists is carried out in various educational and scientific institutions of Ukraine. At the present stage of development of scientific restoration, this industry needs innovative approaches and updating of old methods. Thus, at the National Academy of Fine Arts and Architecture you can get a specialty artist-restorer of monumental painting, artist-restorer of sculptures and decorative arts from metal, ceramics, organic materials (fabrics, leather and bone). Restoration occupies the most important place in museum work and combines a set of knowledge and skills that provide storage of works of art made of metal, ceramics and organic materials. Disciplines on the restoration of sculpture and works of decorative and applied art are part of the training of specialists in the specialty «Restoration of works of art» within the acquisition of practical skills in research, restoration, conservation and storage. Training of future artists-restorers in the system of higher professional education taking into account modern requirements of conservation and restoration is based on such principles as scientific, connection of theory with practice should be carried out on authentic monuments — museum exhibits that promotes formation of professional competences, acquisition of professional experience, responsible attitude to historical and cultural monuments. The obtained results deepen the idea of research methods, restoration and conservation of works of decorative and applied arts from metal, ceramics and organic materials. Theoretical provisions are important at the problem-theoretical level, because the training of restorers requires a strong scientific and methodological base.

Memories in memoirs: Mykhailo (Moisey) Fradkin

2021 ◽  
Vol 2021 (02) ◽  
pp. 306-328
Author(s):  
V. Myzgina ◽  
Keyword(s):  
United States ◽  
Art Education ◽  
The United States ◽  
Art Museum ◽  
Graphic Art ◽  
The 1960S ◽  
Educated Person ◽  
Applied Arts

The artist Moisey Fradkin (1904–1974) was a bright talented person in a brilliant galaxy of Ukrainian artists of the late 1920s – mid 1930s. He was a direct participant in the process of forming a special national “face” of graphic art. His works, which were exhibited at numerous foreign exhibitions in Europe and the United States, were noted as “strong and magical.” However, the further Fradkin’s creative destiny was not triumphant – after a very bright surge of original talent, his art was muted in the Procrustean bed of the Stalinist ideology, from about the end of the 1930s to the 1960s. He did not lose his skills, but only at the end of his life, full of wise experience, Fradkin again acquired bright energy and youthful enthusiasm in his work. Fradkin was a widely educated person, he taught at the Kharkiv Art Institute, was an active illustrator, author of easel compositions and graphic miniatures-exlibrises, worked in the field of industrial graphics for many years, headed the section of decorative and applied arts of the Kharkiv Club of Exlibrisists, collected a huge library. He and his wife, H. Krieger put together a unique collection of paintings, graphics and decorative and applied arts (more than 4000 items), which was later inherited by the Kharkiv Art Museum. The museum’s archives contain scattered sheets with fragments of Fradkin’s memoirs about his years of study at the Kharkiv Art College-Institute, which emotionally describe the time of the rapid reform of art education, which was full of contradictions. The article is based on these, not completely deciphered notes, and on the personal memoirs of the author of the article, who was familiar with the artist in the last four years of his life.

ON THE METHODS OF O. N. LOSHAKOV IN TEACHING EASEL PAINTING From his experience at the Vladivostok Art School in 1960–1962

2021 ◽  
Vol 1 (3) ◽  
pp. 16-21
Author(s):  
A. V. Khairulina ◽  
Keyword(s):  
Fine Arts ◽  
Far East ◽  
Positive Influence ◽  
Educational Process ◽  
The Far East ◽  
Shikotan Island ◽  
History Of ◽  
The 1960S ◽  
Moscow School ◽  
Art School

The article explores the first pedagogical experience of Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, Professor Oleg Nikolaevich Loshakov in Vladivostok. The work provides a brief overview on the history of the formation of professional arts education in the Far East. Positive influence of Oleg Loshakov — graduate of the Moscow State Academic Art Institute named after V. I. Surikov on improving the quality of the educational process at the Vladivostok Art School is noted. He contributed greatly to the development of fine arts in Primorsky Krai as a teacher and representative of the Moscow School of Painting. Further creative activity of O. N. Loshakov who painted landscapes on Shikotan Island together with a group of young artists that were his first graduates is described. The materials of the article expand the range of ideas about the artist's work in the Far East, and reveal new aspects of his landscape paintings of the 1960s. Special consideration is given to the monumental landscape in the master's work. The relevance of the topic is determined by the lack of materials devoted to the period of O. N. Loshakov's formation as a teacher and artist.

scholarly journals The Art Education Drawing on Configuration of Art Education: Philosophy Perspective

2020 ◽  
Vol 8 ◽  
pp. 64-70
Author(s):  
Sunarto ◽  
Irfanda Rizki Harmono Sejati
Keyword(s):  
Art Education ◽  
Fine Arts ◽  
Two Dimensional ◽  
Education Philosophy ◽  
Perspective Drawing

This article discusses about drawing on configuration of art education, a philosophy perspective. Drawing is discussed philosophically which is based on: ontology, epistemology, and axiology. Drawing is a work of fine arts. Drawing can be defined as a picture or diagram which is drowned by using pencil, pen or painting crayon, especially a monochrome picture. From philosophical side, drawing has a “truth”. Drawing that comes pure from mind represent a shape of two dimensional look. Education; drawing will form honesty (Logico Aestheticus) and truth (Logico Mathematicus). Ontologically (intrinsic substance), drawing actually is observing a shape detail and will relate to thought from science perspective and other knowledge towards object observation.  

scholarly journals Linen Boxes and Slices: Raoul De Keyser and American Modernism in Belgium in the 1960s and 1970s

Arts ◽  
2021 ◽  
Vol 10 (4) ◽  
pp. 80
Author(s):  
Steven Jacobs
Keyword(s):  
Three Dimensional ◽  
Pop Art ◽  
Free Standing ◽  
American Modernism ◽  
Hard Edge ◽  
Three Dimensional Objects ◽  
Color Field Painting ◽  
New Vision ◽  
1960S And 1970S ◽  
The 1960S

Before his international breakthrough shortly before the turn of the century, Belgian painter Raoul De Keyser (1930–2012) had a long career that reaches back to the 1960s, when he was associated with Roger Raveel and the so-called Nieuwe Visie (New Vision in Dutch), Belgium’s variation on postwar figurative painting that also entails Anglo-Saxon Pop Art and French nouveau réalisme. Dealing with De Keyser’s works of the 1960s and 1970s, this article discusses the reception of American late-modernist art currents such as Color-Field Painting, Hard Edge, Pop Art, and Minimal Art in Belgium. Drawing on contemporaneous reflections (by, among others, poet and critic Roland Jooris) as well as on recently resurfaced materials from the artist’s personal archives, this essay focuses on the ways innovations associated with these American trends were appropriated by De Keyser, particularly in the production of his so-called Linen Boxes and Slices. Made between 1967 and 1971, Linen Boxes and Slices are paintings that evolved into three-dimensional objects, free-standing on the floor or leaning against the wall. Apart from situating these constructions in De Keyser’s oeuvre, this article interprets Linen Boxes and Slices as particular variations on Pop Art’s fascination for consumer items and on Minimalism’s interest in the spatial and material aspects of “specific objects”.

scholarly journals Design of Educational Art Activities for Preschoolers

2020 ◽  
Vol 9 (3) ◽  
pp. 57
Author(s):  
Xiaoxi Liu
Keyword(s):  
Early Childhood ◽  
Effective Teaching ◽  
Art Education ◽  
Teaching Method ◽  
Fine Arts ◽  
Social Economy ◽  
Fine Art ◽  
Children's Art ◽  
Learning Progress ◽  
Art Activities

<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>

scholarly journals Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK
Keyword(s):  
Art Education ◽  
Research Methodology ◽  
Art History ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Arts ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
The Subject

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

scholarly journals REGULATIONS OF EDUCATIONAL ACTIVITY IN ART WORKSHOPS ST. PETERSBURG ACADEMY OF SCIENCES (1720-1760)

2021 ◽  
pp. 193-200
Author(s):  
Владимир Евгеньевич Иванов
Keyword(s):  
Art Education ◽  
Fine Arts ◽  
Training System ◽  
Educational Activity ◽  
Imperial Court ◽  
Academy Of Sciences ◽  
Drawing Chamber ◽  
Printing House

Проведено историко-педагогическое исследование становления нормативной базы художественного образования в России. Определены регламенты подготовки мастеров художественных ремесел в различных ведомствах Санкт-Петербургской академии наук: Канцелярии от строений, Кабинете императорского двора, Гоф-интендантской конторе, Адмиралтейств-коллегии, Рисовальной палате, Типографии, Мануфактур-коллегии. Изучены предпосылки формирования центра художественного образования и системы обучения будущих мастеров изобразительного искусства . A historical and pedagogical study of the formation of the normative base of art education in Russia is carried out. The regulations for the training of masters of artistic crafts in various departments of the St. Petersburg Academy of Sciences are defined: The Office of the buildings, the Office of the Imperial court, the Quartermaster's Office, the Admiralty Board, the Drawing Chamber, the Printing House, the Manufactory Board. The prerequisites for the formation of an art education center and a training system for future masters of fine arts are studied.

Reconnecting Dance and Physical Education through Dance Science

2022 ◽  
Vol 79 (1) ◽  
Author(s):  
Melonie B. Murray ◽  
Steven Ross Murray
Keyword(s):  
Physical Education ◽  
International Association ◽  
Academic Discipline ◽  
Fine Arts ◽  
Education Programs ◽  
Academic Field ◽  
Dance Training ◽  
And Performance ◽  
The 1960S ◽  
Performance Projects

This article traces the development of dance as an academic discipline from its infancy in physical education programs to its present state, noting the significance of the burgeoning field of dance science and how it is a catalyst for the reconnecting of dance to physical education. The academic discipline of dance originated in the early 20th century in American academe, particularly in women’s physical education programs. By the 1920s, dance emerged as a discrete discipline with Margaret H’Doubler’s founding of the first baccalaureate degree in dance at the University of Wisconsin. By the 1960s, the academic discipline of dance had shifted from its original mission of movement education for everyone to focus more on professional dance training for highly skilled performers. This philosophical shift saw many dance programs move from homes in physical education to the fine arts. During this time, dance also saw an increasing disciplinary emphasis on choreographic and performance projects, a trend still evident today. Dance science began to develop as an academic field in the early 1980s, and shortly after publications and conferences in the area were born. The professional association the International Association for Dance Medicine and Science was founded in 1990. With dance science’s emergence, dance and physical education began to realign, albeit often in departments of kinesiology. Today, with the development of dance science as a burgeoning field, dance and kinesiology are coming full circle, rejoining through their historical roots.

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