Tantisuk, Sawasdi (1925--)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Fine Arts ◽  
Natural World ◽  
Buddhist Philosophy ◽  
Urban Life ◽  
Art Practice ◽  
Oil Paintings ◽  
Western Art ◽  
Outdoor Scenes ◽  
The 1960S

Born in Thonburi, Thailand, Sawasdi Tantisuk is a contemporary of Tawee Nandakwang; both artists were trained at Silpakorn University and the Academy of Fine Arts in Rome. As a prominent figure in early Thai modernism, Tantisuk favored watercolor, as its unforgiving and immediate characters resonated with his approach to art practice, which drew on the Buddhist philosophy wherein each action—in this case, brushstroke—cannot be undone. Tantisuk’s early works were in the impressionist genre, but following his four years in Rome, his work became more abstracted and geometric as he absorbed some of the major trends in Western art, with color and texture being characteristics of many oil paintings of the 1960s. As his career progressed, abstraction remained his favored approach to painting, though he maintained some realist elements in his watercolor outdoor scenes. Tantisuk used color to evoke emotion in his works, depicting both the serenity and wonder of the natural world and the bustle of Thai urban life. A consistent painter, he has received many awards throughout his career and has remained involved with the art profession. He received an Honorary PhD from Silpakorn University in 1991, and was Thailand’s National Artist (painting) that same year.

Ku Ponung (구본웅, 具本雄) (1906–1953)

2018 ◽  
Author(s):  
Jungsil Jenny Lee
Keyword(s):  
Korean War ◽  
Fine Arts ◽  
Colonial Period ◽  
Korean Art ◽  
Oil Paintings ◽  
Western Art ◽  
Literary Magazine ◽  
The Korean War ◽  
Japanese Colonial ◽  
Spine Curvature

Ku Ponung was a modern artist and critic active during the Japanese colonial period and the Korean War. Due to his spine curvature and eccentric personality, Ku was likened to the French painter Henri de Toulouse-Lautrec (1864–1901) and called "The Seoul Lautrec." Ku attended the Taiheiyō School of Fine Arts in Tokyo, where he was introduced to Fauvism, Expressionism, Surrealism, Cubism, and other modern Western art styles. He later pioneered the acceptance of these styles in Korea. Many of Ku’s oil paintings were lost during the Korean War, but several portraits and still lifes survive. Ku worked closely with contemporaneous writers, and his friendship with the modern poet Yi Sang is well known. Ku also edited and published the literary magazine Ch’ŏngsaekchi. After the liberation of Korea from Japan in 1945, Ku worked to revitalize Korean art by experimenting with various formats and media, including traditional ink painting and newspaper illustration. His attempt at artistic revival continued, even during the turmoil of the Korean War.

Chen Li Ying Georgette (1906–1993)

2018 ◽  
Author(s):  
Yvonne Low
Keyword(s):  
First Generation ◽  
Fine Arts ◽  
Art World ◽  
Art Practice ◽  
Oil Paintings ◽  
Art Scene ◽  
Eastern Philosophies

Georgette Chen was a Chinese émigré artist who settled in Singapore in 1953 and taught at the Nanyang Academy of Fine Arts (NAFA) until 1981. Described as the most influential, pioneering female artist in Singapore, Chen brought modernist ideas to the nascent Malayan art world and was instrumental in fostering modernism in local art practice. Her oil paintings, her strongest and most proficient artform, were initially influenced by the Realist and Barbizon Schools. Later her paintings became informed by French Post-Impressionism—especially Fauvism—most notably in their approach toward color. Her mastery of modernism culminated in a synthesis of Western and Eastern philosophies, which was best represented by her portraits, tropical still lives, and plein air paintings of everyday scenes in the Malayan landscape—all of which conveyed a distinct local flavor. Chen was known as the first generation of "Nanyang artists," most of whom were affiliated to NAFA as teachers, and who were responsible for bringing to Malaya a sophistication and cosmopolitanism that was deemed missing from the local art scene.

scholarly journals Tendencies of the Ukrainian Authorial Silkscreen Development in the Global Context

2019 ◽  
pp. 139-144
Author(s):  
P. Malynka
Keyword(s):  
Screen Printing ◽  
Fine Arts ◽  
New Wave ◽  
Art Practice ◽  
Global Trends ◽  
Global Context ◽  
History Of ◽  
The 1960S ◽  
Technique Development ◽  
Silk Screen Printing

This article examines the history of the silkscreen, a printing technique which has been widely spread in the art practice during the last century. The author names artists who have influenced the creation of the authorial silkscreen in Ukraine and presents facts which allow for characterizing the process of the authorial silkscreen development in Ukraine. The article highlights the key tendencies of the Ukrainian authorial silkscreen development in the global context. The author has applied the descriptive and comparative historical research methods in order to reveal the key stages of this technique development and adoption. This is the first research that describes the process of the Ukrainian serigraphy development. It proves that the screen printing became an independent means of artistic expression in the 20th century – after the invention of the silkscreen technique with a light sensitive stencil. For the last 100 years, it has turned from a purely industrial technique to a notable phenomenon of fine arts. The serigraphy development is roughly divided into the following five periods: “zero”, “dead”, “early”, “active” and “modern”. Ukrainian artists first started to experiment with this technique in the 1960s, in the active period, according to the above-mentioned classification. If compared to the global trends, Ukraine has adopted the serigraphy rather late. In the 1990s, the importance of the authorial silk screen printing in the Ukrainian fine arts was growing. At the time, the studio under the guidance of Volodymyr Veshtak was founded to provide artists with the opportunity to master this technique. Nowadays, owing to private studios, such as “Open Silkscreen Studio”, “Seri/Graph”, “Copy #0”, and the festivals that they hold, a new wave of the silkscreen has emerged and spread among Ukrainian artists. Nevertheless, the screen printing is still not a frequently used technique in the Ukrainian fine arts. Therefore, there is a need for making the research and promoting foreign and local experiences of the authorial silk printing.

Juelanshe [决澜社]

2018 ◽  
Author(s):  
Belinda Piggott
Keyword(s):  
Education System ◽  
American Art ◽  
Public Debate ◽  
Rapid Expansion ◽  
Art Practice ◽  
Journal Publishing ◽  
Oil Paintings ◽  
Western Art ◽  
The Qing Dynasty ◽  
Treaty Port

Juelanshe (The Storm Society), founded in 1931 by Pang Xunqin (庞薰琹, 1906–1985) and Ni Yide (倪贻德, 1901–1970), was a short-lived movement in China informed by Post-Impressionism. The group, based in Shanghai, emerged following drastic changes to the education system implemented by the Qing Dynasty. From 1875, an increasing number of students went abroad for their education, primarily to Japan and Europe. After 1911, this had a significant impact on art practice as Euro-American art became associated with progress and modernity. European modernist movements became influential from the mid-1920s, supported by the rapid expansion of book, newspaper, and journal publishing. Shanghai, as a treaty port, offered an environment of comparative freedom for artists and intellectuals. Pang had studied for four years in Paris and sought to establish a modernist Parisian studio in the French Concession. Influenced by a number of artists, notably Picasso, Matisse, and Leger, he explored various styles, shifting from representational to almost abstract geometric, montage-like compositions. Ni graduated from the Shanghai Art School and studied Western art in Tokyo from 1927–1928. The style of his oil paintings was more consistent, displaying a neo-realistic, post-fauvist style influenced by Cezanne, Derain, and Vlaminck. He was a well-known art theorist and critic who actively engaged in public debate.

Lim, Cheng Hoe (1912–1979)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Natural World ◽  
Work And Family ◽  
Traditional Society ◽  
Art Practice ◽  
Art Teacher ◽  
Daily Routines ◽  
Western Art ◽  
Founding Member ◽  
National Heritage ◽  
National University

Born in China, Lim Cheng Hoe moved to Singapore with his parents in 1919. Acknowledged as a notable early Singaporean artist, he showed artistic talent at an early age. In contrast to many of his contemporaries, he embraced Western art aesthetics, and was influenced by his early art teacher, the realist painter Richard Walker. Lim was greatly interested in painterly styles, and always strived to improve his own techniques. He is renowned for his excellent drawing skills, works in pastel, and watercolors. In 1969 he became a founding member of the Singapore Watercolour Society. His art practice was a passionate pastime while his work and family took precedence. Lim’s best-known paintings are of river scenes; he and a group of his contemporaries became known as the Singapore River Artists. Lim is also known as a portraitist. His artworks attract a strong following among collectors and are skillful renditions of Singaporean life, depicting its people going about their daily routines and the natural world around them, and straddling the transition from a traditional society to a modern one. Lim’s works are held in a number of institutional collections including the National Heritage Board Singapore and National University of Singapore Museum.

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.

Paradigm integration of fine art training for would-be professionals of art at high school at theory and local experience

2021 ◽  
Vol 7 (3C) ◽  
pp. 720-729
Author(s):  
Mykola Pichkur ◽  
Halyna Sotska ◽  
Andrii Hordash ◽  
Liliia Poluden ◽  
Iryna Patsaliuk
Keyword(s):  
Fine Arts ◽  
Fine Art ◽  
Digital Art ◽  
Educational Institutions ◽  
Art Practice ◽  
Higher Educational Institutions ◽  
Local Experience ◽  
Different Types ◽  
Higher Educational ◽  
Practice Development

In accordance with historic analysis, the article considers the valued traditional and innovative fine arts studios of artists of different generations; they help to identify specific artistic features of artists of different generations who create artistic works of the information world. We describe the genesis of digital art practice development and demonstrate its influence on the renovation of classic fine art classification system via the digital works of different types and genres. The limits of artistic amateur field as a factor of professional and profane blurring in an artist’s personality are clarified. The new concept of “digital paradigm of fine art training at higher educational institutions” is proposed in the article as an innovative method of specific subjects studying. Methodology of professional skills development while designing digital works for students of artistic profession at higher education was justified and the results of local experience of its implementation at higher educational institutions of Ukraine were described.

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.

Halprin, Anna (Schuman) (1920--)

2018 ◽  
Author(s):  
Janice Ross
Keyword(s):  
Dance Education ◽  
Early Years ◽  
Urban Life ◽  
Community Leader ◽  
Experimental Theater ◽  
Dance Theater ◽  
Healing Ritual ◽  
And Performance ◽  
Experimental Dance ◽  
The 1960S

A dancer, choreographer, community leader, and educator, Anna Halprin helped to pioneer what she called "experimental dance" in the 1960s. After training with the modern dance performer and choreographer Doris Humphrey, she turned to dance education, fusing these dual tracks of performance and pedagogy into a practice where dance changed the dancer. Her experimental dance theater events helped prefigure happenings, performance art, and experimental theater works. Located at the boundaries between art and life, healing, ritual, and performance, Halprin created participatory site-specific dances, art events situated in the midst of urban life. Breaking down the boundaries between spectator and performer, her dance events deliberately reconfigured socially marginalized individuals as the subject and medium of performance, including people with HIV/AIDS and the aged. Beginning in the early 1960s, Halprin started offering dance workshops on the "dance deck," the dramatic outdoor wooden dance studio designed in 1953 by Arch Lauterer, the theater designer, and Lawrence Halprin, Halprin’s husband and a renowned urban designer. Halprin’s students in these early years included several who would become founders of dance minimalism, including Simone Forti, Yvonne Rainer, Trisha Brown, and Meredith Monk—artists who were inspired by her precedent for framing pedestrian actions as dance, relinquishing control, and embracing difficult personal history as legitimate subject matter for dance.

Soonponsri, Kamchorn (1937--)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Los Angeles ◽  
Fine Arts ◽  
Active Role ◽  
Art Exhibition ◽  
Master Of Fine Arts ◽  
Student Protests ◽  
Democratic Government ◽  
The 1960S ◽  
Privately Owned ◽  
Politically Active

Born in Lopburi, Thailand, Soonponsri graduated from Silpakorn University in 1962, and completed a Master of Fine Arts in sculpture and painting at the Otis Art Institute, Los Angeles in 1971. Throughout his career he has pushed the boundaries of institutional convention. While abstraction was popular with younger Thai artists such as Soonponsri in the 1960s, the National Exhibition of Art and Silpakorn University still favored more traditional works and approaches. Breakaway exhibitions arose, and Soonponsri was involved in one of the early shows held at the privately owned Bangkapi Gallery in 1964. He took on a politically active role following the pro-democracy student protests of 1973. Soonponsri became chairman of the Artists’ Front of Thailand, founded in 1974 with the aim of harnessing art in the quest to obtain democratic government. He was an organizer of the first Open Art Exhibition of Thailand, held in 1979 as a further challenge to the National Exhibition of Art. His activism contributed to significant change, and he later became a jury member for a revitalized National Art Exhibition. Soonponsri’s works are abstracted and emotive. In the early 1990s he was a lecturer at Silpakorn University with other well-known artists such as Ithipol Thangchalok.

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