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.

scholarly journals Aboagora 2013: The Human Machine

2013 ◽  
Vol 3 (2) ◽  
pp. 1-2
Author(s):  
Ruth Illman
Keyword(s):  
Joint Venture ◽  
Human Being ◽  
Music Festival ◽  
Arts And Sciences ◽  
The Arts ◽  
Wide Range ◽  
The University ◽  
The Relationship

The editorial introduces the articles of the issue, all pertaining to the arts and sciences event, Aboagora, which gathered artists, academics and a wide range of interested listeners together to discuss the relationship between technology and the human being in Turku/Åbo in August, 2013. Aboagora is arranged as a joint venture between Turku Music Festival and scholars from the University of Turku, Åbo Akademi University and the Donner Institute.

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.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

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.

Il teatro è arte visiva. Le premesse critiche di Toti Scialoja per una moderna concezione della scena

2020 ◽  
Vol 1 ◽  
pp. 113-127
Author(s):  
Martina Rossi
Keyword(s):  
Visual Art ◽  
Fine Arts ◽  
Fine Art ◽  
The Arts ◽  
Mise En Scene ◽  
Italian Culture ◽  
The Sixties

Il teatro è arte visiva is an undated and unpublished text by Toti Scialoja. It has been found in the archive of the artist among other documents related to his activity of teacher at the Academy of Fine Art in Rome. The text could be seen as a proof of Scialoja’s lasting interest in the reflection on the role of the arts in the mise en scène. In particular, he started to propose his own opinion inside of Italian culture debate since the Forties. Some texts on this matter have been published between 1944 and 1946 on “Mercurio”, and in 1949 on “L’Immagine”. Considering those precedents, Il teatro è arte visiva could be considered a summa of the principles that Scialoja already expressed in those previous texts, but actualized according to new experiences, like Grotowski’s Poor Theatre. This mention suggests to propose a dating of the document subsequent the second half of the Sixties and to refer it to his experience as Professor of Scenography at the Academy of Fine Arts. It consents to highlight how he educated his students in light of the most important and innovative experimentation scenic of Avant-gardes, instilling in them the importance of considering theatre like a visual art, formally independent from the single contribution of paint, sculpture, and architecture.

Suwannakudt, Paiboon (1925–1982)

2018 ◽  
Author(s):  
Clare Veal
Keyword(s):  
Subject Matter ◽  
Fine Arts ◽  
Fine Art ◽  
Mural Painting ◽  
Careful Study ◽  
Art Practices ◽  
Art Forms ◽  
The 1950S ◽  
Traditional Norms

Paiboon Suwannakudt (Tan Kudt) was a neo-traditional Thai painter, who is credited as being one of the key figures in the modern reinvigoration of Thai mural painting. A graduate from the first group of students to study at the School of Fine Arts (later Silpakorn University), Paiboon originally wanted to be a sculptor like his teacher, Silpa Bhirarsri, but was encouraged to learn mural painting instead. From the reign of Rama V (r. 1868–1910), the Thai elite’s preferences for European art forms meant that by the 1950s Thai mural painting was a stagnant practice. Silpa Bhirasri’s encouragement of Paiboon to take up mural painting may then be viewed as part of his wider interest in the reinvigoration of traditional Thai art practices and their acceptance as legitimate fine art forms. Throughout the 1950s and 1960s, Paiboon studied painting by making visits to craftsmen working in the mural painting tradition and by copying murals at several temple compounds, including Wat Po, which is located near Silpakorn University. Paiboon’s work and his position as an artist were emblematic of a neo-traditional position: while he maintained a certain level of fidelity to the notion of tradition through his choice of subject matter and careful study of mural conventions, he also professed a degree of creative variation from traditional norms and a certain level of anti-conservatism.

CRITICAL TEXTS OF ART JOURNALS AS A TOOL FOR SOLVING THE PROBLEMS OF RELATIONSHIP OF THE VIEWER AND THE WORK OF FINE ARTS

2021 ◽  
Vol 2 (1) ◽  
pp. 6-14
Author(s):  
Maya Smolina ◽  
◽  
Alexandra Sukorcheva
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Fine Art ◽  
Synthetic Theory ◽  
Work Of Art ◽  
Basic Principles ◽  
The Subject ◽  
Relationship Of ◽  
The Relationship ◽  
The Ideal

The object of this scientific research is art criticism in art magazines, the subject is the text of art criticism as a tool for solving problems of the relationship between a work of art and the viewer. The aim is to study journal art criticism as a tool for solving problems of the relationship between a work of art and the viewer. The analysis of the concepts of "art criticism" and "critical texts about art" is given in order to understand the essential features of art criticism and the specifics of its texts. The conceptual basis for the study was the key provisions of the theory of reflection by G.V.F. Hegel, the basic principles of the synthetic theory of the ideal D.V. Pivovarov and the concept of ideal formation, the main provisions of the theory of fine art by V.I. Zhukovsky and N.P. Koptseva.

Empathy with the self and its relationship to creativity and innovation among students of Fine Arts Institutes

2021 ◽  
Vol 27 ◽  
pp. 439-474
Author(s):  
THABIT JUMAA ◽  
Keyword(s):  
Sense Of Self ◽  
Pearson Correlation ◽  
Fine Arts ◽  
Self Esteem ◽  
Fine Art ◽  
The Self ◽  
Testing Methods ◽  
Creativity And Innovation ◽  
The Relationship ◽  
Academic Year

The study was conducted on the students of the Fine Art Institutes in Basrah. 1 - level of self-esteem among students of the institutes of fine arts in light of the variable sex. 2 - the level of creativity and innovation among the students of the Institute of Fine Arts in light of the variable sex. 3. The nature of the relationship between self-esteem, creativity and innovation among the students of the Fine Art Institutes. The current research community included students of fine art institutes in Basra for the academic year (2019/2018). The study sample consisted of (120) students and (60) students and (60) students. About 15% of the members of the original society were chosen by the random stratified method. The researcher used two tools to achieve his research objectives: Researcher for this study. The second measure is creativity and innovation, prepared by Kilford (1988). The researcher achieved the validity of the measure of self-esteem in the manner of virtual honesty and the coefficient of stability in the way Vkronbach (83%). The measure of creativity and innovation has a coefficient of stability (0.66) and when modified by the equation of Spearman Brown (0.79). Testing methods and re-testing. Statistical methods were used to suit the nature and objectives of the current research. These include the T-test, the Vaccronbach equation, the Pearson correlation coefficient, The result of the current research is: The relationship between self-esteem, creativity and innovation is significant. The nature of the relationship between the two variables and the gender variable is significant. It shows that the contribution of a variable was associated with a sense of self-esteem, creativity and innovation. In the light of the research results, the researcher made a number of recommendations and suggestions. Keywords: Empathy with the self (kindness, participation, attendance), creativity and innovation (fluency, flexibility, originality), sample, measures, experimentation, discussion of results, recommendations, suggestions.

The British symphony orchestra and the Arts Council of Great Britain

2018 ◽  
Author(s):  
Benjamin Wolf
Keyword(s):  
Great Britain ◽  
Fine Arts ◽  
Symphony Orchestra ◽  
Cultural Economics ◽  
Symphony Orchestras ◽  
Artistic Value ◽  
The Arts ◽  
Limited Support ◽  
Successful Execution ◽  
The Relationship

This chapter explores the relationship between British symphony orchestras and the Arts Council of Great Britain. Combining archival research with institutional sociology and cultural economics, it describes how the Arts Council’s demands changed between 1946 and 2000, and how financial and ideological constraints prevented the successful execution of some of these demands. Between 1946 and 1980, symphony orchestras were encouraged to focus on professional performances of the ‘fine arts’ and the performance of music by living composers. Subsequently the 1980s and 1990s witnessed a collapse in traditional ideas of artistic value and a growth in bureaucratized management, with symphony orchestras undergoing time-consuming appraisal procedures, expanding their educational activities and demonstrating limited support for the arts of ethnic minorities. Overall, the chapter suggests that the ideologies of subsidised support were in tension with each other, leading to only partial achievement of the goals that were set out by the Arts Council.

Governing Culture, Producing Modern Citizens

2021 ◽  
pp. 90-119
Author(s):  
Banu Karaca
Keyword(s):  
Cultural Policy ◽  
The State ◽  
Turkish Republic ◽  
Art And Politics ◽  
Cultural Policies ◽  
The Arts ◽  
Greater Good ◽  
Administrative Units ◽  
The Many ◽  
The Relationship

Chapter 3 shows how ideas of art as a greater good have been translated into Turkish and German cultural policies. It begins with a general overview of cultural policy as a domain of statecraft rooted in modernist notions of aesthetic education as essential for modern personhood and then turns to the fundamental contradictions that characterize the interlocution of art and administration. It revisits and retells major debates and turning points in Turkish and German arts policies of the twentieth century by examining forgotten episodes of this history that allow for re-evaluating the present. These include the heated discussions on the relationship between art and politics in the early Turkish republic that resulted in a constant reshuffling of the administrative units in charge of the arts, and the fact that engagements abroad, including arts initiatives in the Ottoman Empire, were formative for Imperial Germany’s domestic cultural policy. Analyzing the tension between art as a supposedly functionless good and the many ways in which the state mobilizes different understandings of art for its own purposes, the chapter shows how the critical potential of art always also presents a risk that the state needs to contend with.

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