Educating gravure art

2020 ◽  
Vol 43 (2) ◽  
pp. 105-111
Author(s):  
B. Naimanov ◽  
◽  
B. Ospanov ◽  
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
Fine Art ◽  
Creative Activity ◽  
Graphic Arts ◽  
Visual Material ◽  
Black And White ◽  
Production Activity

The article tells about the art of gravure, which is a part of the art of graphic, as well as about artists who have devoted themselves to the study of this type of art and the study of aspects of this area of fine art, as well as the study of art in the works of these artists. For a deeper understanding of graphic arts, visual material is needed. Gravure in the field of graphics occupies one of the main positions in the visual arts. With the help of this simple black-and-white graphic, artists achieve mastery by depicting and expressing what they saw in life in their works, and in doing so they develop fine arts. The article also says that gravure has specific features as one of the types of production activity, a unique way of creative activity.

scholarly journals ACTIVISATION OF THE CREATIVE POTENTIAL IN 7/8-YEAR OLD CHILDREN BY IMPLEMENTATION OF MIXED PAINTING TECHNIQUES IN FINE ART EDUCATION

2019 ◽  
Vol 7 ◽  
Author(s):  
Petar Petrov
Keyword(s):  
Art Education ◽  
Fine Arts ◽  
Fine Art ◽  
Composition Analysis ◽  
Creative Activity ◽  
Creative Potential ◽  
Study Objective ◽  
Painting Materials ◽  
Empirical Level ◽  
Painting Techniques

Introduction: The article explores some processes that activate the creative potential of 7/8- year old children after mixed painting techniques introduction and application. Problems on a theoretical and empirical level are discussed, based primarily on the children's creative activity results and determined by the degrees of free experimental application of painting and non-painting materials.                                                                                                                                                                   Study Objective: The usage of some mixed techniques in the fine arts is considered and how they reflect on the dynamics of the children's education creative process. Methods: During the experimental work, the following methods are applied: monitoring and analysing the processes of working with different materials, experimenting with mixed painting techniques, composition analysis, image and richness of the expression means.                                                                                                                                                                                      Results: In the course of the study, it is established that the usage of more than one material for the pictorial activity significantly increases child creativity and better image in graphic and artistic terms are acquired, composition and richness of expression means are attained.                                                                                                                                                     Conclusions: The application of mixed painting techniques in fine art education of 7/8-year olds increases the creative activity, builds a lasting interest in the fine art, and enhances the emotional and aesthetic impact. 

scholarly journals The Ingress Of World Artistic Experience In The Fine Arts Of The 1970s-1980s

2021 ◽  
Vol 03 (02) ◽  
pp. 198-202
Author(s):  
Khasanboy Umarjon Ugli Rakhimov ◽  
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
Fine Art ◽  
Human Mind ◽  
Artistic Experience ◽  
Works Of Art ◽  
The Arts ◽  
History Of ◽  
The Individual

The work of writing discusses the history of Uzbek fine arts. It analyzes the different period works of art by Uzbek and Russian artists who lived in Uzbekistan. Fine art is one of the arts that quickly affects the human mind, arouses good feelings and enriches the spiritual world.At the same time, the visual arts are educators who contribute to the formation and development of the individual.

The visual gamut and syntactic abstraction

Semiotica ◽  
2022 ◽  
Vol 0 (0) ◽  
Author(s):  
Steven Skaggs
Keyword(s):  
Visual Arts ◽  
Fine Art ◽  
Theory And Practice ◽  
Art World ◽  
Visual Artists ◽  
Graphic Arts ◽  
Art And Design ◽  
Syntactic Abstraction ◽  
Visual Identity ◽  
Studio Practice

Abstract Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study.

scholarly journals Art Criticism, the Reality and Difficulties Sultanate of Oman as a Model

2012 ◽  
Vol 3 (1) ◽  
pp. 27
Author(s):  
Fakhriya Khalafan Al yahyai
Keyword(s):  
Visual Arts ◽  
Art Criticism ◽  
Fine Arts ◽  
Fine Art ◽  
Sultanate Of Oman ◽  
The Media ◽  
Future Vision ◽  
Historical Methods ◽  
Critical Writings ◽  
Critical Movement

This research aims to address the context of Art Criticism in the Sultanate of Oman by investigating and analyzing written criticism. The significance of the current research is that it summarizes the reasons behind the absence of a critical movement in the area of Fine Arts in Oman. This research tries to gather and review the writings in art criticism in order to propose improvement and project a future vision of the field. This research uses historical methods to trace the writings on art criticism, and descriptive analytical methods to describe and analyze the forms and contents of the critical writings that guided the fine art movement in Oman. This research proposes some recommendations such as the importance of promoting the culture of art criticism in Oman. Particularly, the study suggests that a group be formed to promote and disseminate the culture of the Visual Arts. It is also recommended that general and impressionistic writings on fine arts be avoided and replaced by more systematic and academically rigorous writings. The study recommended that both the researcher and the critic should be given more attention and that the media should play a role in promoting fine arts criticism by broadcasting specialized programs in this area. These programs should be presented by expert art critics. The study also recommends that fine art criticism be emphasized in fine art classes in schools in order to create a generation that is capable of appreciating and critiquing art. 

scholarly journals Fine Arts: 4. Proposals Regarding Work Strategies in Visual Arts Activities II. Creating an Interrogative Attitude

2018 ◽  
Vol 16 (1) ◽  
pp. 190-195
Author(s):  
Ana-Maria Aprotosoaie-Iftimi
Keyword(s):  
Critical Thinking ◽  
Visual Arts ◽  
Fine Arts ◽  
Secondary Phase ◽  
Fine Art ◽  
Work Strategies ◽  
Development Of Students ◽  
General Culture

Abstract Between the age of six and eleven, children easily express themselves through drawing. After this age, there is a blockage due to the development of critical thinking. If during the 6 - 11 age stage children draw using symbol schemes, reporting what they remember and what they understood from what they saw, after the age of 10-11 (secondary phase) children want to draw what they see and thus they face challenges related to technical means and language specific for arts. In this regard, a mediation is necessary between the technical means and the artwork or reproductions of fine art (either in albums, or displayed on a screen) using guided questions. This process, that over the years of teaching proved its efficiency, contributes to the development of students’ imagination and creativity, and to the formation of a useful general culture.

scholarly journals Creativity of K. Malevich in the context of development of world and domestic art culture

2021 ◽  
pp. 65-74
Author(s):  
Lesia Turchak
Keyword(s):  
Visual Arts ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Art ◽  
Major Influence ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
Domestic Art ◽  
Architecture And Design

The purpose of the article is to establish the contribution of Ukrainian avant-garde artist, pedagogue, theorist Kazymyr Severynovych Malevych to the Ukrainian and world pictorial art. The methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity. The scientific novelty of the research is in establishing Kazymyr Malevych’s contribution to the development of the Ukrainian and world pictorial art. We have studied the special features of his art, theoretical works and teaching activity, as these were an important factor in preserving and popularizing the Ukrainian culture. Conclusions. Malevych’s life and art have become the valuable heritage of the whole world. He influenced the development of visual arts with his activity and personally created direction in abstractionism. Guided by his own research and artistic search, he established a new direction in avant-garde art – suprematism, which became a unique phenomenon for fine art. His style was a major influence for visual arts, architecture and design. Malevych elaborated his own manner of teaching art to students. He was followed by Ukrainian and German constructivists, American minimalists and French abstractionists. His creative ideas are still relevant to this day.

EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"

2020 ◽  
pp. 138-150
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  
Keyword(s):  
Visual Art ◽  
Spatial Organization ◽  
Fine Arts ◽  
Environmental Design ◽  
Exhibition Design ◽  
Fine Art ◽  
Museum Of Fine Arts ◽  
Artistic Images ◽  
Fashion Designers

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

Institute of Forensic Art Examination of Fine Art Objects: Theoretical and Practical Problems

2021 ◽  
pp. 47-53
Author(s):  
Bondarenko L. K. ◽  
◽  
Skachko A. V.
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Fine Art ◽  
Legal Proceedings ◽  
Art Objects ◽  
Criminal Procedure Law ◽  
The Russian Federation ◽  
Substantive Law ◽  
Practical Level ◽  
Selection Of

The problem of organizing expert activities in the field of forensic art examination of fine arts at a practical level is considered. The conditions of objectivity (reliability) of the results of a forensic art examination of fine art in law enforcement practiceare identified. In this regard, the problem of the reliability of the examination results is considered at the interdisciplinary level: substantive law – criminal and customs; criminal procedure law, as well as forensic science and expert activities. The necessity of creating, within the framework of the anti-corruption policy of the state, an independent institute of forensic art criticism of fine arts is substantiated. It is proposed: 1) to create an information base under the Ministry of Justice of the Russian Federation on the data of art historians known in different fields of fine art who can act as competent persons in legal proceedings; 2) to create a mechanism for the appointment of a commission of forensic-forensic art examination of objects of fine art examination on the basis of automatic random selection of subjects of examination. It is proved that this measure excludes the possibility of giving an unreliable conclusion as part of a forensic art examination of objects of fine art.

FEATURES OF THE INDUSTRIAL THEME DEVELOPMENT IN THE CREATIVITY OF DAGESTAN ARTISTS

2020 ◽  
pp. 92-96
Author(s):  
Zaripat Abdullaevna Akhmedova
Keyword(s):  
Visual Arts ◽  
Fine Art ◽  
Complete Study ◽  
Post War

The author of the article considers the industrial theme as one of the important themes in the genre of house-hold paintings in the visual arts of Dagestan. The analyzed works reveal the peculiarities and diversity in the development of the theme during its formation, and in the post-war period. The scientific turnover includes previously unexplored works, which are of particular interest for a more complete study of genre (household) paintings in Dagestan fine art.

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