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In the second half of the 20th century, the majority of Lithuanian art scholars held a view that Lithuanian art constituted the main line along which the national art developed in the early 20th century, while the pieces of art produced in Lithuania by ethnic minorities were seen as marginal, inferior, and not so important. However the emergence of Lithuanian art was inspired by the national rebirth and occurred rather recently, after 1906. The art research of the current decade has shown that it was namely the artists of other nationalities - Poles, Jews, and Russians - who were most intensively engaged in the artistic life of Lithuania in the early 20th century: they were involved not solely in the creation of art, but also founded various artistic institutions, organised exhibitions and shaped the face of art during that period. Conclusion: art created in Vilnius in the early 20th century should be viewed as a combination of the creative work and activity of equivalent partners - Lithuanians, Poles, Jews and Russians - rather than as the mainstream of Lithuanian art bordered by the marginal art forms of ethnic minorities.
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The article analyses concepts of boundaries and margins in the field of contemporary art. Their horizontal relation is compared to the vertical model of mainlines and margins in traditional arts. In this context, some interpretations of contemporary art works frequent in Lithuanian art criticism, particularly those of interdisciplinary creation and the "marginalization" of site-specific works are discussed. Interdisciplinary approaches and creative strategies of art in the post-medium condition are distinguished. Due to conceptual deterritorialization of the notion of site in Post-modernism, site-specific works are articulated in the post-medium art context, avoiding the reconstruction of the boundary breaking model typical of Late Modernism. The analysis is based on the theoretical insight into the development of contemporary art in the 2nd half of the 20th c., following the transformation of late modern strategies into postmodern ones.
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Jarosław Czarnecki’s "Symbiotyczność tworzenia" (The Symbiosis of Creation) is a work on the borderline between art, biology, and technology, created together with ant colonies and thus using non-human actors and natural phenomena with their objective processes. In its species or genre dimension – an encounter of human and non-human culture, in its temporal-historical dimension – a report, beginning in 2012, which will come to an end in 2034 at the latest, with the death of the ant queen of the species attasexdens. Czarnecki’s project is one of the most mature works of world art+science; instead of simulation of digital artifacts, the stimulation of a symbiotic interspecies relationship that integrates biological organisms and technologies of trans-species communication. On the human side, the work weaves together problems of knowledge and existence, emotions and control, visibility and power.
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Starting from the cultural mediator model, the teacher, in his turn, can be positioned from the perspective of the assumed positioned of art mediator. Thus, his role would be to make art accessible to a public under training (students). Approaching activities in an upward direction - from the uninitiated (students) towards the professionals (artists), the designed activities will thus start from the developmental needs of the students. Finding ways of connecting youth and art by introducing art into everyday life and identifying examples where elements, skills and knowledge about art can be applied in everyday life and the permanent concentration of the mediator professor on the public/youth/students and not on the works of art and, thus placing young people at the heart of artistic mediation are several ways of opening, awakening and training the interest of the new art public.
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The framework and the reference objectives of the 'Textile art' course signal priority of the student‟s initiation in the fine arts language theory. It is essential to discover new possibilities to study and apply of fine arts language elements for the purposes of triggering students‟ creativity. For this purpose, at the course of "Textile art", we will examine the necessity of studying fine arts language, synthesis of creative forms when essentially determining the contents in the process of development of artistic creativity to fine arts education students. In the process of development of artistic creativity in students it is important to study the language elements by selecting and processing artistic elements of nature. The study of the elements of fine arts language contributes to educating and informing the creative personality while choosing and processing the reality in the context of a methodical creative thinking - along with compositional regularities of scale, rhythm, movement and fine arts forms.
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Principles of possession of the landscape painting, applied by masters of the past, as well as theoretical elaborations of scientists in the field of chromatics, psychology and pedagogy of arts, become important components in improving training methods of artists in plein-air in contemporary conditions. The skills and knowledge gained in the process of plein-air studies form professional skills and improve the properties of painting and composition within the workshop. This studying outlines the stringency of training and development methods of creative individuality, especially in plein-air, where the principal teacher is the nature. The plein-air enriches color perception of the real world, located in the air, and mutual relationship of landscape with architecture and space determines knowledge of the issues of proportionality and subordination in compositions, educates sense of proportion and artistic taste. Improving visual mastery into the natural environment contributes to the formation to painters of the necessity to create outside the workshop, which is a necessary condition for the development of individuality and professional skills of the painter.
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Less visible to the general public, the area of the Prothesis inside the sanctuary of the “Pentecost” heritage church, of Dragomirna Monastery, shows a particular casuistic due to the diversity of types of degradation recorded at the time of its restoration (2011). The dominant form is the adherent candlewax deposits, present on the surface of the paint layer in various stages of hardness. The particular state of conservation features occurring in this area, corroborated with a series of aggravating environmental factors, imposed the application of a special restoration intervention methodology in the area of the Prothesis.
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During the 2nd Black World and African Festival of Arts and Culture (FESTAC) in 1977, a lot of novel, creative and artistic events took place in Lagos. One of these was the construction of a monument, the National Arts Theatre, which also accommodated the National Gallery of Art. Invariably, the presence of the Gallery made the Arts Theatre management allocate the premises of the Theatre to some notable Nigerian artists for use as Artists in Residence. The premises eventually, by 1980, became an institutional and inspirational workshop for budding Nigerian artists. The activities of the artists were so professionally accepted that it was named the National Studios of Art. However, at the time the Studio had become the centre of sound informal art training, it was given a relocation order which caused serious controversy between the Gallery and the artists. The artists eventually accepted the relocation order, and this, necessarily, led to changing the name to the Universal Studios of Art (USA). As the professional artists became globally known, the USA also became a tourist centre for both local and foreign visitors and artists. Till today, the activities of the USA continue to attract national and international attention. Very as unfortunately, no scholarly study of the Universal Studios of Art has been carried out, despite its outstanding professional qualities.. For many years, the artists have developed valuable art forms and art styles that have contributed to the advancement of modern Nigerian art. It is the objective of this article, therefore, to document the artists of the Universal Studios of Art
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This paper examined the roles and factors of Aesthetics viz-a-viz those of modeling, styling and the product Brand (Branding) as viewed against their fundamental relevance as core ingredients for the actualization of any Design initiative and creative endeavour. These roles, influences and place of Aesthetics (and its allied components, makes up the very soul, content and essence of what the product is all about. Its Form, Shape, Morphological / physical attributes and characteristics. The paper established that the aesthetic components of beauty, colour, shape, (form) fonts, (lettering or typography) and all other general Aesthetic Ambience gives the given product the desired quality/beauty that it exudes to help determine its marketability / profitability as a Brand. The paper also reviewed the aspects /implications of these roles and influences on Design Education alongside highlighting the potentials of the Design Educator – learner experience, while exploiting the Teachers ability to effectively harmonise the various approaches and practices of a functional Design-led Educational programme viz-a-viz piloting such talents/skills achieved to practicable and useful ends as professionals in Design and Technology. The paper also seeks to establish that the roles and factors of modeling styling and Branding of the product which is best exemplified through the adaptation of Design inputs and features such as ornamentation, edge delineation, texture movement/flow of linear form, symmetry or Assymetry of shapes, colour, granularity (of matter/particles large or small) or coarseness, play of light (sunlight) and shade, transcendence (state of being or existence of a product beyond the limits of material experience) and that of total harmony. The paper recommends that for any product Brand to succeed it must incorporate all of the above components together with the inclusion of the other qualities that makes up the intangible content of the Brand such as, Brand Name, Logo, Tagline (catchphrase) the Graphics (elements of Design) Brand Shape, Brand colour, culminating in the establishment of what the Brand mission statement is about, its function, role or job it is intended to perform.
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In this academic paper I want to highlight the importance of the drawing and its purpose in the visual artist's creative effort which is in full artistic activity. I will illustrate what I have said previously with the drawings by artists such as Dürer Alfred, Alberto Giacometti, Henri de Toulouse-Lautrec, Andeea Paladio and others artists who have created numerous drawings to study, or as the remarkable artworks. So, during the artistic process the sculptors, the painters or the architects draw to study, to remember or to clarify their own ideas. Many drawings are straightforward, with a single-purpose and spontaneous, but often are an intuitive response to an experience or an idea which must be necessarily put on paper. These studies are often the means by which the artists develop passages which is meant to be incorporated in a detailed and complex art composition.
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The numerous plastic approaches of form in the 20th century are characterized by creativity and innovation. Form, as expression of an artistic language, is the cause and effect for the cultural evolution of a particular spatial-temporal area. The invention of forms depending on the factors which will impose them in a particular socio-cultural context and location environment is not everything. The challenges of the act of creation are far more complex. For the art of the 20th century, the role of the type of expression in visual or gestural language proved much more convincing and meaningful as to the data or phenomena occurring in immediate reality. The personality of the artist, his cultural character, his media coverage and exterior influences of his inner world, his preceding experiences and receiver’s contacts in a specific area are the factors that influence the relation between the work of art and the audience against a particular spatial-temporal background. The psychological and sensory processes in works of plastic art are spatially configured in structures, which leads to self-confession. The artist filters the information and the elements of exterior reality through the vision of his imagination and power of expression specific to his inner self, and turns them into values through the involvement of his state of mind. Constantin Brâncuşi is the sculptor whose role was considered exponential as he revolutionized modern artistic vision by integrating and creating space-form relations through symbol. Throughout his complex work – the Group of Monumental Sculptures of Tg. Jiu, the artist renewed the language of the sculpture-specific means of expression, though archaic forms, by restoring traditional art. Archetypes often make reference to the initial and ideal form and they represent the primitive and native models composing it. Form attracts, polarizes and integrates the energy of the matter outside the human body, and art acquires a unifying function for the senses of our spirit. We identify the forms developed by the junction between fantastic forms, the figments of the imagination of artists who communicate deep human meanings. They invite us in a world of constructive forms and mysteries, truly innovative and elaborate creations, by underlying different directions in the compositional space with symbolic value.
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The aim of this article is to specify and exemplify the stages of the creative process in fashion design courses and workshops, with a focus on a few learning methods exploring the creative potential through content and visual analysis processes as well as more practical techniques and methods in the area of fashion design and applied arts. From scientific documentation to pedagogical experiments, a range of methods have been used to enable students fulfill their learning objectives and reach the apex of professional competence.
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After December 1989 in visual art from Iasi were produced numerous changes which have contributed to a new approach of the artistic phenomenon. That was the moment when a new generation of artists appeared and who, unshackle by the rigors of the communist regime, they have created artworks by experimenting the most varied ways of visual expression. An important aspect of this transition period is the place which visual art has it in the culture from Iasi and the aesthetic trends learned by the new generation alongside older artistic directions define the value of the contemporary cultural heritage from Iasi. Also, an important role in the presentation of the visual art from Iasi is the artistic education, which it‟s in a constant development with the advent of new specializations within the Faculty of Visual Arts and Design, highlighting the artistic and scientific potential of the professors and the students of „George Enescu” Național University of Arts from Iasi.
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The article signed by the artist Ernö Bartha is a contemplation of the way sculptures are created out of an ephemeral and cyclic material, hay. The artist explains the way he works with hay and conceive his work. The article ends with presenting the opinions of two art critics, Alexandra Rus (Faculty of History and Philosophy, “Babeș-Bolyai” University, Cluj-Napoca, Romania) and Pavel Șușară (Institute for the History of Art, Romanian Academy, Romania) regarding the works of Ernö Bartha.
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This article includes a presentation of the Chiricahua Apache sculptors Allan Houser and his son Bob Haozous, as well as a synthesis of two interviews I conducted with Bob Haozous in Santa Fe, New Mexico, in July 2013 and 2014. In this interview, upon which I will comment when I feel necessary, Bob Haozous voices his opinion of his father’s artwork, which, to his mind, conveys a romanticized view of Native Americans. According to him, Allan Houser’s portrayal of dignified and beautiful Indians cannot be divorced from a specific economic and political context. He also critiques the Indian Market as being the portrait of a romanticized history. Indeed, art that reflects the real plight of Natives is missing from the works exhibited at Indian markets, especially the one that is held in August in Santa Fe, New Mexico. For Bob Haozous, Native artists should use art as both an internal dialogue and as a political statement. His particular view of Indian identity as a philosophy, and not as a genetically-determined identity, is also groundbreaking, as is his artistic critique of Indians who have become ‘cultural zombies.’
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The development of the furniture craft in Vilnius in the second half of the 19th – beginning of the 20th centuries, as well as the status of the furniture craftsmen belonging to the guilds, acquisition of professional skills, training and participation in Vilnius exhibitions are presented. The mass-produced products spread in the Western European market in the second half of the 19th century gained ill-feeling to the industrial production articles and raised nostalgia. The Arts and Crafts Movement in Great Britain became the resistance expression of the mass industrial production. This movement inspired by artists, when the wares of craftsmen were driven out by industrial products, stimulated the revival of the old crafts, returning to the hand-made wares and admiration for the medieval craftsmen guilds. Indeed, the situation in Lithuania was different. The development of the advanced and modern craftsmanship was impeded by the medieval relict – the guild system, which existed until the end of the 19th century. Craftsmen of the guilds defending their monopoly production rights fought against non-guild craftsmen, craftsmen from other cities and traders and opposed the establishment of the capitalist industry companies. In the second half of the 19th century, the furniture production was based on the craftsmen works predominated in Lithuania continuing the traditions of the guilds craftsmanship. The collision between crafts and industrial production manifested not as the hostile disposition against the mass-produced furniture, but as an attempt on the guild’s production monopoly. Until the 19th century, the old crafts learning system in the guilds existed in Vilnius. The acquisition of occupational skills was hierarchized. Learner–apprentice–master was the traditional scheme of the craft secrets mastering and the development of the professional career. Only at the end of the 19th century – beginning of the last century, new processes originated along with the repercussions of the craft movement. The special courses and schools of crafts, which raised the professional level of craftsmen, mitigated backwardness and represented modern craft ideas.At the turn of the 19–20th centuries, the ideas of a new modern style reached Vilnius. The exhibitions of art and crafts were invoked for the dissemination and introduction of these ideas to craftsmen and society. After application of new artistic ideas, they reflected the turn of the former workshop craftsman towards the modern applied art creator. However, derivations of different historic styles (Baroque Revival, Renaissance Revival, etc.) were the most demanded types among Vilnius society and furniture manufacturers until the turn of the 19–20th centuries. At first, the takeover of new modern artistic tendencies (English, German) was reflected in the furniture design in the exhibition in 1909. The influence of European design tendencies was also reflected in the popularization of production and increased demand for weaved and bamboo furniture at the beginning of the last century.
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