King of Parilia, 1935–1941

2017 ◽  
Author(s):  
Robert W. Cherny
Keyword(s):  
High School ◽  
Communist Party ◽  
New Deal ◽  
Fine Arts ◽  
Post Office ◽  
George Washington ◽  
High Point ◽  
Washington High School ◽  
Artistic Career ◽  
Arts Community

Between 1935 and 1941, Arnautoff reached the high point of his artistic career, receiving a large WPA-funded commission at George Washington High School, a smaller commission at the California School of Fine Arts, and commissions for five New-Deal post-office murals. He joined the Stanford University faculty in 1938. The artist members of the Art Association elected him as their representative on the board, and he received other, similar recognition. He and Lydia became citizens in 1937 and joined the Communist party soon after. Unknown to them, the NKVD executed his father, uncle, and cousin in 1938 during Stalin’s Great Terror. By 1941, Arnautoff was one of the most influential members of the city’s arts community, and his influence extended well beyond the city’s boundaries.

San Francisco's New Deal Murals in Long-Term Perspective

2020 ◽  
Vol 97 (1) ◽  
pp. 3-32
Author(s):  
Robert W. Cherny
Keyword(s):  
High School ◽  
San Francisco ◽  
New Deal ◽  
Public Art ◽  
George Washington ◽  
Art Programs ◽  
City College ◽  
Washington High School ◽  
Treasure Island

The federal art programs of the New Deal produced public art in quantities not seen before or since. Historians have studied many aspects of the New Deal's art programs, but few have considered the long-term history of works produced by them. New Deal art programs produced large numbers of public murals—so many that such murals are often thought of as the typical form of New Deal art. They thus provide readily available examples of the long-term experience of New Deal art. San Francisco has a particularly rich collection of these murals. Some of them have been well cared for over the past eight decades, but public officials have proved negligent stewards—and occasionally destructive stewards—of others. Some of San Francisco's murals were considered so controversial at the time they were created that they were modified or even destroyed. Others became controversial later, with calls for modification or destruction. Some of the latter were covered, some were vandalized, and some have deteriorated. Most of the damaged murals have been restored, sometimes more than once. This article looks at the city's New Deal murals at Coit Tower, the Mothers Building at the Zoo, the Beach Chalet, the University of California San Francisco, the Alemany Health Center, Treasure Island/City College, and Rincon Annex/Center, with special attention to the George Washington High School murals that have recently been highly controversial. Controversies over the murals at Coit Tower, Rincon Annex, and George Washington High School also reveal significant changes in the role of the city's political and civic leadership with regard to public art.

A Guide to Mathematical Discovery

1973 ◽  
Vol 66 (4) ◽  
pp. 331-335
Author(s):  
Ian Ocrant
Keyword(s):  
High School ◽  
Mathematics Curriculum ◽  
George Washington ◽  
University Of Denver ◽  
Introductory Note ◽  
Curriculum Project ◽  
Washington High School ◽  
Discovery Method ◽  
The University ◽  
Junior Student

Introductory Note. Teachers are often told to teach students by the discovery method. As a junior student at George Washington High School, the writer of this article used the discovery method as described here while participating in a Computer Mathematics Curriculum Project sponsored by the National Science Foundation and directed by William Dorn and Ruth Hoffman of the University of Denver. Ian was asked to document his thinking in a diary fashion so that others could see, firsthand, the discovery method at work. Irwin J. Hoffman, George Washington High School, Denver, Colorado.

scholarly journals Membekali Keterampilan Guru Seni Budaya SMPN 25 Dan SMPN 7 Padang Dalam Pembelajaran Kerajinan Tapestri

2018 ◽  
Author(s):  
Ariusmedi ◽  
Erfahmi ◽  
maltha kharisma
Keyword(s):  
High School ◽  
Junior High School ◽  
Junior High ◽  
Fine Arts ◽  
Skill Learning ◽  
School Level ◽  
High School Level ◽  
Junior High School Teachers ◽  
Class Viii ◽  
Skills Learning

The professionalism of a teacher is to be able to demonstrate his performance in performing the task of educational profession characterized by the satisfaction of academic competence of education and mastery of substance competence and I or field of study according to the field of his I her knowledge. One example is a teacher of Cultural Art who is not only a professional in thefield of art but must master the substance of the field of skill. This assumption is based on competency standards that should be taught by art teacher of culture especially skill learning that is ( I .I) "Appreciate and Make Tapestridi Class VIII Craft at junior high school level (SMP) level. However, the reality is that most teachers do not teach skills learning. That is, the demands of competency standards are not working properly. Based on the findings in one junior high school in Padang, that the cause of this problem is because the teachers more dominate the art of learning (Appreciation and Expression).Concerns about teachers' inadequacies in this skill learning process require teachers to attend education and training I workshops. Therefore, it was agreed that the priority of the teacher problem to be solved was to hold "Teachings of Fine Arts, especially on Tapestri Skill Learning". Teachers to be trained are teachers of SMP (Art Culture) in Padang City as many as JO people . It is expected that after this training they can I ) have knowledge of tapestry material as a skill learning in junior high, 2) create at least one tapestry based on learned process, and 3) implement it in skill learning in class.After attending the training I training, the results are obtained, SMP Junior High School Artistic Junior High School teachers in Padang: I ) already have knowledge about tapestry craft based on competency standard in class VIII SMP, 2) can create one tapestry work based on technique and steps that have been studied

scholarly journals Co to znaczy być artystą/artystką?

2017 ◽  
Vol 61 (1) ◽  
pp. 71-99
Author(s):  
Marek Krajewski ◽  
Filip Schmidt
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Fine Arts ◽  
Nationwide Survey ◽  
Social World ◽  
Decision Makers ◽  
The Social ◽  
The Common ◽  
Artistic Career ◽  
Depth Interviews

Who is an artist? Questions over how to define this role divided the makers of the project The Invisible Visual: Visual Art in Poland—Its State, Role, and Significance. The authors’ sources of data were the results of a nationwide survey, a survey of graduates of the Polish Academy of Fine Arts in the years 1975–2011, and in-depth interviews with seventy individuals in the field of visual arts. The authors were able to establish, first, that persons working in the art field give different definitions from those beyond its bounds; second, that artists, decision-makers, curators, and critics try to defend the sense and autonomy of their activities against ways of thinking and acting that are typical of other areas of the social world (while they are themselves engaged in disputes over who has a right to call him- or herself an artist and what is and isn’t good art); and third, being an artist is marked by a difficult-to-cross boundary, as is shown by the common necessity of supplementing artistic work by other sources of income and the high risk of failure in an artistic career.

Eat What’s Good for You

2017 ◽  
Author(s):  
Amy L. Best
Keyword(s):  
High School ◽  
Social Class ◽  
Food Consumption ◽  
Food Provisioning ◽  
Parental Pressure ◽  
Different Types ◽  
Good For ◽  
Washington High School ◽  
Role Of Parents

This chapter focuses on Washington High School and its cafeteria, examining the different types of food found there and the role of parents in shaping the cafeteria and students, with specific attention to social class and its consequence for a public food provisioning system. The first part of the chapter sketches the changing set of arrangements in food consumption toward a focus on health that Dan, the food director, labored to bring into being and the role of parental pressure in driving such change. The second part of the chapter shifts attention toward youth, highlighting the way class dispositions shape what kids consume and how they consume, and examining how this same ambivalence finds expression in the types of play students engage in this space.

Matsumoto, Shunsuke (松本竣介, 1912–1949)

2018 ◽  
Author(s):  
Takuya Tsunoda
Keyword(s):  
High School ◽  
Fine Arts ◽  
Urban Landscapes ◽  
Pacific War ◽  
Oil Painting ◽  
Avant Garde ◽  
The Pacific ◽  
Literary Arts ◽  
Spinal Meningitis ◽  
Professional Artist

Matsumoto Shunsuke was an oil painter and essayist active in the years up to and through the Pacific War. His best-known paintings, most of which feature figures in urban landscapes, include several self-portraits such as Standing Figure (1942). Matsumoto contracted spinal meningitis at the age of eleven, which eventually led to the loss of his hearing, an event that steered him towards the career of professional artist, and encouraged him to become immersed in reading and the literary arts. Later, it also rendered him ineligible for the draft. At seventeen he dropped out of high school and moved to Tokyo, where he studied oil painting at the Pacific School of Fine Arts (Taiheiyô Bijutsu Gakkô) for three years. In 1935 he became a member of the avant-garde NOVA Art Society, the first of several exhibition collective and artist groups in which he would participate. Other groups including the Nikakai, the Nine-Room Society (Kyûshitsukai), and the Newcomers Painting Society (Shinjin Gakai). Like Ai Mitsu, Asô Saburô, and others with whom he associated, Matsumoto expanded his style to accommodate expanded Japanese interest in Abstraction and Surrealism during the 1930s, but he largely retained his interest in painting intimate portraits, set in non-idealized cityscapes, throughout his career.

Nabaa, Nazir (1938--)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Communist Party ◽  
Rural Schools ◽  
Art Criticism ◽  
Modern Art ◽  
Fine Arts ◽  
Fine Art ◽  
Political Mobilization ◽  
Puppet Theater ◽  
1960S And 1970S ◽  
The 1960S

Nazir Nabaa, a respected Syrian painter, made his greatest contributions to Arab modern art in the 1960s and 1970s, when he contributed to the graphic identity of progressive political causes and the Palestinian liberation struggle. He joined the Syrian Communist Party in the 1954 and in 1959 was briefly jailed for this affiliation. After his release, he traveled to Cairo on a fellowship to study painting at the Faculty of Fine Arts, there developing a heroic realist style around social and labor themes. After returning to Syria in 1964, Nabaa taught drawing in rural schools and worked with myth and folklife. Moving to Damascus in 1968, he worked as an illustrator and became involved in creative projects in support of political mobilization, including poster design, puppet theater, fine art painting, and art criticism. Between 1971 and 1975, Nabaa studied in Paris at the Academy of Fine Arts. Upon his return, he joined the faculty of the College of Fine Arts in Damascus. His later paintings became more fantastical, combining goddess figures with still lifes of fruits, tapestries, and jewelry. He also developed a parallel corpus of abstract paintings based on the exploration of texture and color.

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