Dr. Atl (1875–1964)

Author(s):  
June I.K. Black

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.

2019 ◽  
Author(s):  
Pedro Luz Pinto ◽  

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.


Author(s):  
Sarah Dwider

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.


2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska

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.


2020 ◽  
Vol 147 (2) ◽  
pp. 153-163
Author(s):  
Kirsten Dzwiza

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.


1980 ◽  
Vol 62 (2) ◽  
pp. 333
Author(s):  
Phyllis Braff ◽  
Joseph Phillip Cervera
Keyword(s):  

This volume tells the little-known story of the Dominican Family—priests, sisters, brothers, contemplative nuns, and lay people—and integrates it into the history of the United States. Starting after the Civil War, the book takes a thematic approach through twelve essays examining Dominican contributions to the making of the modern United States by exploring parish ministry, preaching, health care, education, social and economic justice, liturgical renewal and the arts, missionary outreach and contemplative prayer, ongoing internal formation and renewal, and models of sanctity. It charts the effects of the United States on Dominican life as well as the Dominican contribution to the larger U.S. history. When the country was engulfed by wave after wave of immigrants and cities experienced unchecked growth, Dominicans provided educational institutions; community, social, and religious centers; and health care and social services. When epidemic disease hit various locales, Dominicans responded with nursing care and spiritual sustenance. As the United States became more complex and social inequities appeared, Dominicans cried out for social and economic justice. Amidst the ugliness and social dislocation of modern society, Dominicans offered beauty through the liturgical arts, the fine arts, music, drama, and film, all designed to enrich the culture. Through it all, the Dominicans cultivated their own identity as well, undergoing regular self-examination and renewal.


2021 ◽  
Vol 4 (6) ◽  
pp. 62-66
Author(s):  
Sabohat B. Radjabova ◽  

It is scientifically analyzed information about the activity of women in the education system of Surkhandarya region in the period of independence years and their achievements in this field through statistical data with examples over the years in this article. It is emphasized that the state pays attention to the work activities of selfless women, who have been awarded many medals and medals in this region, such as the Medal of “Shukhrat”, the Order of “Saglom avlod uchun”, the title of "Xalk ta`limi a`lochisi", is also mentioned separately


Sign in / Sign up

Export Citation Format

Share Document