Roy, Jamini (1887–1972)

2018 ◽  
Author(s):  
John Xaviers
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Art Object ◽  
Folk Traditions ◽  
Collection Process ◽  
Colonial Art ◽  
Art Collection ◽  
Multiple Copies ◽  
Modern Artists

Jamini Roy is considered one of the most important modern artists of pre-independent India. While proficient in Western academic realism, he completely rejected the style to adopt folk traditions such as the Kalighat patua. He mass-produced his folk-like paintings in a guild or kharkhana in order to reject the uniqueness of the modern art object, and to democratize the art collection process (he rejected bourgeois taste and buying habits). Roy invented his own folk-inspired form as an anti-colonial visual idiom. While an agnostic, he deliberately painted Indian religious or mythological themes as an antidote to the ideas of colonial art education. Adamant about the use of homegrown art materials, Roy often used tempera with tamarind glue as a binder. Roy painted Christian themes to test his ideas, and to see if the folk schema that he developed in his workshop could be used successfully in non-Indian religious contexts. Roy simplified his curvilinear painting method to such an extent that the indexical mark of his brush strokes could be replaced with the reproducibility of a schema in an art workshop. Such simplification has resulted in an upsurge of Jamini Roy replications. This, however, is a problem largely in the eyes of collectors, who hold the very bourgeois art ethos that Jamini Roy rejected while mass-producing multiple copies of his works.

THE RECREATION OF MODERN AND AFRICAN ART AT ACHIMOTA SCHOOL IN THE GOLD COAST (1927–52)

2014 ◽  
Vol 55 (3) ◽  
pp. 445-465 ◽  
Author(s):  
Rhoda Woets
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Art Teachers ◽  
Gold Coast ◽  
African Art ◽  
Teacher Training College ◽  
Colonial Art ◽  
Political Conditions ◽  
The Impact ◽  
Modern Artists

AbstractThe formative influence of colonial art education on modern art movements in Africa has not attracted a great deal of scholarly attention. Yet, European art teachers in the Gold Coast challenged colonial prejudice that Africans were incapable of mastering European aesthetic forms. This article analyses the art education provided at the Teacher Training College at Achimota School where pupils learned both to revalue African art forms and to draw and paint in European, representational art styles. Modern artists built on and reshaped what they had learned at Achimota in order to respond to changing social and political conditions. The last section of this article explores the impact of colonial art education on the work of two of the earliest modern artists in Ghana: Kofi Antubam and Vincent Kofi.

Achimota School

2018 ◽  
Author(s):  
Rhoda Woets
Keyword(s):  
Teacher Training ◽  
Art Education ◽  
Modern Art ◽  
Art Teachers ◽  
Gold Coast ◽  
Visual Artists ◽  
Art Forms ◽  
New Ideas ◽  
Modern Artists ◽  
Training Department

The majority of Ghana’s modern art pioneers received their art education at Achimota School on the Gold Coast, now Ghana. Achimota School contributed in an important way to the formation of modern art in Ghana. Students trained at the Achimota Teacher Training Department spread new ideas about art and art education at the schools where they later worked. The discursive fields, in which modern visual artists came to discuss their work following independence, were embedded in a colonial past where European art teachers at Achimota had positioned African tradition as both preceding and opposed to modernity. Just like the art teachers at Achimota, modern artists deeply admired "primitive art" and considered local art forms to have roots stretching into a timeless past. Modern artists were, in this regard, influenced by their education at Achimota School as well as by nationalist ideologies that fostered pride in an African cultural past. Among the school’s most notable students are Oku Ampofo (1908–1998), Ernest (Victor) Asihene (1915–2001), Amon Kotei (1915–2011), Saka Acquaye (1915–2007), Kofi Antubam (1922–1964), Theodosia Akoh (1922), and Vincent Kofi (1923–1974).

scholarly journals MODERNISATION OF ART EDUCATION OF A FUTURE TEACHER UNDER CONDITIONS OF GLOBALISATION

10.23856/4213 ◽  
2021 ◽  
Vol 42 (5) ◽  
pp. 95-103
Author(s):  
Olena Malytska
Keyword(s):  
Art Education ◽  
Mutual Influence ◽  
Modern Art ◽  
Future Teacher ◽  
Modern World ◽  
Cultural Concepts ◽  
Art Object ◽  
Art Practices ◽  
Is Integration ◽  
Traditional Arts

The article addresses the reflection of the processes of globalisation in contemporary art and their influence on the content and technologies of art education of a future teacher. The emphasis was placed on the fact that even under conditions of globalisation, artistic culture cannot be transformed on the basis of unification because it leads to the loss of ethnocultural values of a certain nation and the destruction of their cultural genotype. It was determined that the only direction of the transformation of modern art is integration technologies. The classification of integration methods in modern art practices is offered according to the following forms: mutual influence of cultural concepts on a territorial basis; the synergy of traditions and innovations; the combination of modern technologies into a conglomerate that preserves the characteristics of an art object; innovative synthesis of traditional arts on a group or type basis. Attention was focused on the fact that globalisation processes, that take place in the modern world, affect the content and determine the technologies of art education. It was established that among the forms of artistic integration of contemporary arts, that were proposed by the author, such as the synergy of traditions and innovations as well as the synthesis of traditional arts on a group or type basis are mainly introduced in the art education of a future teacher.

Ṣalat al-Fann al-Ḥadith al-Ālamı (Art Moderne International) (established Damascus, Syria, 1960)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Modern Art ◽  
Art Gallery ◽  
Intellectual Activity ◽  
Talent Search ◽  
Applied Fields ◽  
Modern Artists

Ṣalat al-Fann al-Ḥadīth al-fiĀlamı (Gallery of International Modern Art, or Art Moderne International (AMI)) was the first private art gallery in Syria. Launched by brothers Muhammad and Mahmoud Daadoush in Damascus in October 1960, the gallery served as a social hub for artistic and intellectual activity and a promotional office for Syria’s modern artists. It was centrally located in Yusuf al-Azmeh Square and provided a range of artistic services: biweekly exhibitions, literary evenings, and publicity stunts such as a talent search for an artist’s "muse," as well as work in the applied fields of décor, advertising, and printing.

Sabri, Atta (1912–1988)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
World War Ii ◽  
20Th Century ◽  
Modern Art ◽  
Fine Art ◽  
Museum Of Modern Art ◽  
National Museum ◽  
World War ◽  
Founding Member ◽  
Plastic Arts ◽  
Modern Artists

Born in Kirkuk, Iraq, Atta Sabri was among the pioneer generation of Iraqi modern artists with careers peaking in the mid-20th century. He was an active exhibitor and participant in several burgeoning art groups. After being educated and employed as a teacher in Baghdad, Sabri joined many of his peers in studying art abroad, first in Rome at the Accademia di Belle Arti and then, after World War II, in London at Goldsmith College and the Slade School. During the years of the war, Sabri held a job at the Department of Antiquities in Baghdad. After completing his studies, the artists again took up teaching this time at the Baghdadi Institute of Fine Art. Over the course of his career, Sabri became a founding member of the Society of the Friends of Art and a member of the Society of Iraqi Plastic Arts. His exhibition record includes the seminal Industrial and Agricultural Fair in 1931 and the 1950 First Iraqi Art Show in London. Sabri also exhibited extensively at the National Museum of Modern Art in Baghdad and in 1979 the museum held a retrospective of the artist’s oeuvre.

scholarly journals Editor's Introduction: I. Writing Modern Art and Science – An Overview; II. Cubism, Futurism, and Ether Physics in the Early Twentieth Century

2004 ◽  
Vol 17 (4) ◽  
pp. 423-466 ◽  
Author(s):  
Linda Dalrymple Henderson
Keyword(s):  
Cultural Context ◽  
Modern Art ◽  
Critical Role ◽  
Art And Science ◽  
Radical Innovations ◽  
Science And Art ◽  
The 1960S ◽  
Relationship Of ◽  
Modern Artists ◽  
The Relationship

This issue of Science in Context presents a sampling of current work by art historians examining modern artists' engagement with science as well as the relationship of photography to both science and art. The essays' topics span the mid-to-later nineteenth century to the 1960s and, thus, in a series of case studies provide an introduction to aspects of artistic modernism. Indeed, it is impossible to understand fully many of the radical innovations of modern art without some knowledge of an artist's cultural context, and developments in science have often played a critical role in defining that milieu. Collected together, these essays also represent methodological models of historical work on art and science that serve as useful examples in this developing field.

scholarly journals The Visual Economy of “Precious Books”

2020 ◽  
Vol 40 (1) ◽  
pp. 95-114
Author(s):  
Zeina Maasri
Keyword(s):  
Political Economy ◽  
Print Culture ◽  
Visual Arts ◽  
Modern Art ◽  
Book Publishing ◽  
The Political ◽  
Artistic Practice ◽  
Capitalist Economy ◽  
Art Object ◽  
The Aesthetic

Abstract Shedding light on the postcolonial Arabic book, this article expands the literary and art historical fields of inquiry by bringing into play the translocal design and visual economy of modern art books. It is focused on the short-lived Silsilat al-Nafa'is (Precious Books series, 1967–70), published in Beirut by Dar an-Nahar and edited by modernist poet Yusuf al-Khal (1917–87). The series engaged prominent Arab artists and foregrounded the aesthetic dimension of the printed Arabic book as a “precious” art object. Situated historically at the threshold of contemporary globalization, this publishing endeavor formed a node connecting transnational modernist art and literary circuits with book publishing and was thus paradigmatic of new forms of visuality of the Arabic book. This materiality was enabled by a network of changes in the visual arts, printing technologies, and the political economy of transnational Arabic publishing in late 1960s Beirut. Relations between these three fields are analyzed through a multifaceted lens, focusing on the book as at once a product of intellectual and artistic practice, a commodity in a capitalist economy of publishing, and a translocal artifact of visual and print culture.

Sign in / Sign up

Export Citation Format

Share Document