Shaikhly, Ismail al- (1924–2002)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
Subject Matter ◽  
Gifted Student ◽  
Active Participant ◽  
Emotional Energy ◽  
Founding Member ◽  
Female Figures ◽  
The 1950S

Born in Baghdad, Iraq, Ismail al-Shaikhly was among the Baghdadi Institute of Fine Art’s first graduating class in 1945. At the institute, he studied under Faiq Hassan and is considered his most gifted student. After graduating from the Institute, al-Shaikhly traveled to Paris to attend the Ecole Nationale Supérieure des Beaux-Arts. Upon his return to Baghdad, al-Shaikhly became an active participant in several art groups that were gaining prominence in the 1950s and 1960s. He was a member of the Pioneers and became the group’s leader in 1962. He was also a founding member of the Society of Iraqi Plastic Artists and participated in the Iraqi Artists Society. Al-Shaikhly exhibited extensively with these groups. He was also a prodigious exhibitor internationally. In 1955 and 1958, a collection of his works toured countries like China, Russia, Bulgaria, Poland, and India. Early in al-Shaikhly’s career, his work borrowed much from his mentor Faiq Hassan. However, he soon developed his own interpretation of subject matter favored by many of his contemporaries, the environs, and people of Iraq. He is best known for his feminine masses composed of color and ovular shapes. These female figures, recognizable by the abaya, cluster together with emotional energy. The power of al-Shaikhly’s representations is intertwined with this rhythmic energy. It suggests not only the colors and forms of everyday Iraqi life, but also the essence of its experience.

Jewish Martyrdom in the Works of Adolf Rudnicki

1998 ◽  
pp. 247-262
Author(s):  
Józef Wróbel
Keyword(s):  
Subject Matter ◽  
Life And Death ◽  
Jewish Society ◽  
History Of ◽  
The Subject ◽  
The 1950S

This chapter discusses the theme of Jewish martyrdom in the works of Adolf Rudnicki. Without losing sight of the universal dimensions of the theme he was taking up, Rudnicki enriches the subject-matter with characteristics that are specifically Jewish. First, the situation of Jewish society during the occupation differed from that of other nations. Jews were pushed to the very bottom of the invader's hierarchy. Their life and death depended not only on Germans but also on the aid of Poles among whom they lived, which was not always forthcoming. A second specific feature is derived from Rudnicki's chosen artistic genre, which monumentalized the suffering of Jews by including them in the biblical circle and the almost 2,000-year history of the Diaspora, the wandering and persecution with which God tries his chosen people. This problem dominated the writing of Rudnicki for at least ten years. Undoubtedly, the literary situation in the first half of the 1950s was decisive in Rudnicki's abandonment of the theme, since the subject of the war was quickly recognized as outdated. The chapter then studies occupation literature.

Essentialism

2018 ◽  
Author(s):  
Stephen Yablo
Keyword(s):  
Subject Matter ◽  
Hard Part ◽  
Equal Footing ◽  
Essential Properties ◽  
The Subject ◽  
The 1950S ◽  
Definition Of

Essentialists maintain that an object’s properties are not all on an equal footing: some are ‘essential’ to it and the rest only ‘accidental’. The hard part is to explain what ‘essential’ means. The essential properties of a thing are the ones it needs to possess to be the thing it is. But this can be taken in several ways. Traditionally it was held that F is essential to x if and only if to be F is part of ‘what x is’, as elucidated in the definition of x. Since the 1950s, however, this definitional conception of essence has been losing ground to the modal conception: x is essentially F if and only if necessarily whatever is x has the property F; equivalently, x must be F to exist at all. A further approach conceives the essential properties of x as those which underlie and account for the bulk of its other properties. This entry emphasizes the modal conception of essentiality. Acceptance of some form of the essential/accidental distinction appears to be implicit in the very practice of metaphysics. For what interests the metaphysician is not just any old feature of a thing, but the properties that make it the thing it is. The essential/accidental distinction helps in other words to demarcate the subject matter of metaphysics. But it also constitutes a part of that subject matter. If objects have certain of their properties in a specially fundamental way, then this is a phenomenon of great metaphysical significance.

Cheong, Soo Pieng (1917–1983)

2018 ◽  
Author(s):  
Kelvin Chuah
Keyword(s):  
Subject Matter ◽  
Modern Art ◽  
Southeast Asian ◽  
Chinese Art ◽  
Western Art ◽  
The Subject ◽  
The 1950S ◽  
Female Bodies ◽  
Tropical Landscape ◽  
Art Techniques

Cheong Soo Pieng was a Chinese-born artist who became well known for his contributions to Singapore’s modern art. In Nanyang, Cheong’s Chinese art training was integrated with the lush tropical landscape and the arresting allure of local communal practices. Cheong was part of a group of artists who visited Bali, Indonesia, in 1952 in search of the Nanyang Style, which involved Southeast Asian themes visualized with Western art techniques. The resulting imagery in the works created by the artists was exhibited back in Singapore the following year in the hugely lauded exhibition Four Artists to Bali. This provided the stimulus for these artists to develop further this particular genre of art. For Cheong, his artistic excursions were not confined to Singapore. He also traveled to Sarawak, Borneo, in 1959 and resided in Europe from 1961 to 1963, where he held solo and group shows, and where he also dabbled with abstraction in his works. Cheong is recognized for his development of distinctive figural types known as "elongated figures": female bodies with elongated limbs. The figural types he developed in the 1950s were reassessed and reworked in the 1970s. These later works reflect a matured handling and refinement, reinforcing his personal stylization of the subject matter.

Reflections on Three Decades of Education of the Gifted

1988 ◽  
Vol 5 (2) ◽  
pp. 79-83 ◽  
Author(s):  
A. Harry Passow
Keyword(s):  
Individual Differences ◽  
Subject Matter ◽  
Gifted Education ◽  
Basic Skills ◽  
Gifted Student ◽  
General Curriculum ◽  
Normal School ◽  
Planning Policy ◽  
Personal Understanding ◽  
Learner Needs

This article reviews the development of the philosophy and practice of gifted education. The writer argues for the need of a comprehensive and coherent planning policy which takes into account the total experience of the gifted student. It suggests that the gifted learner needs the basic skills, an understanding of processes and subject matter which constitute a good general curriculum; specialized skills and knowledge that develop particular talents; personal understanding of relationships and values and extra-curricular experiences including personnel and material not available in the normal school. The article also stresses the vital need for differentiation in the curriculum which allows for individual differences in pace, depth and breadth.

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.

Lassaw, Ibram (1913–2003)

2018 ◽  
Author(s):  
Esther T. Thyssen
Keyword(s):  
New York ◽  
Abstract Expressionism ◽  
New York School ◽  
Jackson Pollock ◽  
Active Participant ◽  
Avant Garde ◽  
Founding Member ◽  
The Family ◽  
Galactic Cluster ◽  
Brooklyn Museum

A sculptor of the New York School, Ibram Lassaw was born to Russian parents in Alexandria, Egypt. The family immigrated to Brooklyn, NY, in 1921, where Lassaw learned modeling, casting, and carving. He discovered avant-garde art at the Brooklyn Museum in 1926, and continued to study sculpture at the Clay Club from 1927 to 1932. An active participant in New York modernist circles, Lassaw was a founding member of the American Abstract Artists Group (1935), and The Club (1949). Lassaw’s interest in cosmic and religious themes culminated in abstract sculptures for Jewish synagogues, such as Pillar of Fire (1953) at Temple Beth El, Springfield, MA. Known for his web-like structures, Lassaw dripped, fused, and spattered metal, embracing the resulting accidental contours that accrued on his gridded designs, as in Galactic Cluster #1 (1958, Newark Museum). He wielded the oxyacetylene torch like a paintbrush and the intricately structured wires twist, turn, and redouble like skeins of paint by Jackson Pollock. His work was included in the 1959 Kassel Documenta, which showcased American Abstract Expressionism.

Lahham, Rafiq (1932--)

2018 ◽  
Author(s):  
Sarah Ann Rogers
Keyword(s):  
New York ◽  
Subject Matter ◽  
First Generation ◽  
Modern Art ◽  
Founding Member ◽  
Rochester Institute Of Technology ◽  
Institute Of Technology ◽  
The 1960S ◽  
To Receive ◽  
Arabic Calligraphy

Born in Damascus in 1932, Rafiq Lahham went on to become a pioneer in Jordan’s modern art movement. His body of work is characterized by a diverse approach to choice of style, media, and subject matter. Working in oil, gouache, watercolor, collage, printmaking, and silk screens, Lahham depicts portraits, landscapes and cityscapes, Arabic calligraphy, and semi-abstract compositions. During the 1960s, Lahham was among the first artists in Jordan to incorporate calligraphy into his compositions and also one of the first painters to experiment with complete abstraction. Lahham is considered, along with Muhanna Durra, to be a member of the first generation of Jordanian artists to receive government scholarships to train abroad. He studied at Ente Nationale Addestramento Lavoratori Commercio and St Giacomo Instituto in Rome, graduating in 1962. He continued his studies in painting and etching at the Rochester Institute of Technology in New York. Upon his return to Amman, Lahham worked as a cultural advisor for the Ministry of Tourism until his retirement in 1995. He is a founding member of the Artists Association. He lives and works in Amman.

“Viewer to Viewer, or The Art of Unpacking One's Picnic” and Other Essays

October ◽  
2016 ◽  
Vol 157 ◽  
pp. 128-160
Author(s):  
Francois Morellet
Keyword(s):  
Contemporary Art ◽  
Early Development ◽  
Active Participation ◽  
Founding Member ◽  
The 1950S ◽  
The 1960S

This anthology of writings by artist François Morellet (1926–2016) presents new translations of texts, several never before published in English, that concern his early development, from the 1950s—during which he elaborated the systematic conception of art that would govern his practice throughout his life—to the 1960s, when he was a founding member of the Groupe de Recherche d'Art Visuel. With humor and clarity, Morellet details his plans for a “programmed experimental painting”; a call for active participation by viewers of contemporary art; the influence of Mondrian, van Doesburg, Max Bill, and others on his work and the ways in which he tried to eliminate choice as much as possible from his grid paintings; and, most satirically, the ways to recognized as a “serious” artist.

scholarly journals FORMATION AHD DEVELOPMENT OF STUDENTS’ RESEARCH ACTIVITY IN PEDAGOGICAL UNIVERSITIES IN THE 1950s

2020 ◽  
Vol 30 (3) ◽  
pp. 283-288
Author(s):  
I.A. Golubeva
Keyword(s):  
Subject Matter ◽  
Federal District ◽  
Scientific Activity ◽  
Scientific Conference ◽  
Research Activity ◽  
Normative Documents ◽  
Science Society ◽  
The Subject ◽  
The 1950S ◽  
Development Of Students

The article is devoted to the analysis of formation and development aspects of students’ research activity in pedagogical universities in the 1950s. The geographical boundaries of the study are the modern territory of the Volga Federal District. The period of the late 1940s and early 1950s was a stage of students’ science formation in universities. The student science society and the science circle became the main organizational forms of students’ research activity. Based on the study of the state and university normative documents, universities’ plans and reports of those years, the author draws conclusions about the main peculiarities of the organization of students’ scientific activity and problems of development of the direction. The basic requirements for a student science society member are described. The importance of such forms of work as review-competition of student scientific works and student scientific conference is considered. In addition, the author analyzes the subject matter of students’ research works and attempts to highlight several main areas of choice of the subject matter of research.

Arp, Hans/Jean (1886–1966)

2018 ◽  
Author(s):  
Bibiana Obler
Keyword(s):  
World War I ◽  
Fine Arts ◽  
World War ◽  
Active Participant ◽  
Founding Member ◽  
Tristan Tzara ◽  
Blaue Reiter ◽  
Eastern Philosophies ◽  
German Citizen ◽  
Literary Circles

Hans/Jean Arp is an Alsatian poet and artist, who was a founding member of Dada and an active participant in Constructivism and Surrealism. Arp grew up in Strasbourg speaking German, French, and Alsatian. He studied fine arts in Strasbourg, Weimar, and Paris, and even early in his career was active in international artistic and literary circles. In 1910, he co-founded the Moderne Bund and contributed to Der Blaue Reiter Almanach [The Blue Rider Almanac]. A German citizen, Arp successfully dodged the draft during World War I, finding refuge first in Paris and then in Zurich. At an exhibition that featured his embroideries, tapestries, and works on paper at the Tanner Gallery, he met Sophie Taeuber, who soon became a friend and collaborator and, in October 1922, his wife. Early in their friendship, her exploration of strict geometries led to a series of collaborative vertical-horizontal compositions in collage and embroidery that are among the earliest purely abstract works produced by European avant-gardes. In 1916, Arp joined Hugo Ball, Tristan Tzara, and others in launching Dada. Informed by mysticism and Eastern philosophies, Arp sought to transcend the boundedness of individual production by working with chance, thus deliberately relinquishing some control over the process of making.

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