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The main material of Ceramics, the discovery of which dates back to 10 thousands years, is the clay. In the past civilizations, ceramics which have as many diverse usage fields as from religious idols to architectural elements, from kitchen and ornament items to communication tablets, from oil, lamps to the pottery vessels where the ashes of the dead are stored are objects that shed light on the period where it belongs and social and cultural life of civilization. Ceramic being used continuously now replaces the broken bones. Ceramic is used in the production of brakes, spark plug, in air, space and rail vehicles, in computer and machinery manufacturing, in electrical transmission systems, in production technologies, in household appliances such as cookers and irons, in electric and electronic goods, and in the production of health materials, floor and wall covering materials, tableware items and works of art. In this work, the general usage areas of the ceramics produced since the day of its discovery to meet human needs have been mentioned. In terms of creating awareness about ceramic materials, remarkable usage areas are supported with visual examples.The main material of Ceramics, the discovery of which dates back to 10 thousands years, is the clay. In the past civilizations, ceramics which have as many diverse usage fields as from religious idols to architectural elements, from kitchen and ornament items to communication tablets, from oil lamps to the pottery vessels where the ashes of the dead are stored are objects that shed light on the period where it belongs and social and cultural life of civilization. Ceramic being used continuously now replaces the broken bones. Ceramic is used in the production of brakes, spark plug, in air, space and rail vehicles, in computer and machinery manufacturing, in electrical transmission systems, in production technologies, in household appliances such as cookers and irons, in electric and electronic goods, and in the production of health materials, floor and wall covering materials, tableware items and works of art. In this work, the general usage areas of the ceramics produced since the day of its discovery to meet human needs have been mentioned. In terms of creating awareness about ceramic materials, remarkable usage areas are supported with visual examples.
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Sculptor Ioan Grecu, a contemporary artist, supports a complex and innovative dialogue with the general public. In his artworks, the plots originate in his search of formal structures, but also it is in his ideas and thoughts. So these structures find unexpected shapes, being shown under various conceptual perspectives. The sculptor is not only a researcher of various techniques, also he is a subtle explorer of human nature, which helps him to convey various psychological states in various hypostases. For the sculptor the human body is a tool by means of which he approaches the transmission of various emotions, suffered and transmitted at the level of sensations. Thus, he intuitively comprehends the fourth dimension of the image as the psychological one. His creative development has begun with some replicas of classic models of nude nature. The sculptor passes through the stage of reliefs, in which the line emphasizes the volumes of torsos, followed by the reproduction of the spirit’s hypostasis, embodied in anthropomorphic forms, with aviomorphic and zoomorphic elements. This hypostasis is followed by works, which represent the sculptor’s reflections relative to the universe evolution. The image in his creativity is referring to the conceptualism, neighboring of the philosophy.
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Valentina Vidraşcu is the most renown name among local fashion designers who succeeded in making Moldova acknowledged, admired, and appreciated in fashion capitals around the globe. Good education and love towards craftsmanship, namely embroidery, which were passed to her by her mother, have all positively marked Valentina Vidrascu’s path into the fashion world, who now creates some of the most sensual collections inspired by traditional clothing, with ie (a traditional embroidered shirt) as a central collection piece. The ie’s designed by Valentina Vidrascu are unique, authentic and modern, and are characterized by refined sophistication. By maintaining the traditional pattern as a base, the designer recreates the style of ie’s, uses the finest natural fabrics and successfully mingles texture, technical and tailoring into a new identity and refined modern pieces. The folkloric inspirational works she has signed have returned the love of women all over to the wearing of traditionally embroidered shirts, presented in a new vision. Today, we can proudly say that Moldova has a well-known brand both in and outside the country, namely the „Valentina Vidraşcu” brand, with exquisite exclusive clothing collections, while the wearers of the outfits created by her will always be sensual, noble, of the unique beauty, splendidly exuding the traditional Romanian spirit.
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Dobro znamo kako i koliko smo oduvijek i zauvijek ovdje, ali smo se prije agresijom nam nametnutog rata gubili u općoj slici i davali joj se, kako se ispostavilo: bez potrebe. Kada smo vidjeli kako nas ta nesebičnost proždire, potražili smo se i pronašli tu, na licu mjesta, gdje i jesmo jedino mogući i stvarni. Čini se, tada smo i prvi put uistinu pojmili, kako su nas uvijek prepoznavali po Sahat-kuli, Bijeloj Ahmed-pašinoj i Šarenoj džamiji, Osman-kapetanovoj medresi i Općinskoj kući, kao ljude iz Čaršije od posla, kao Gračanlije. Čak, nismo ni primjećivali, kako im ni na pamet ne pada da nas u Sarajevu prihvate kao Sarajlije, mada ne znamo odakle i kada su u Sarajevo došli. Kao ni u druge gradove. A Boga mi, ponekad ni mi nismo htjeli biti, tamo neki, jer – Gračanlije i jesmo!
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Akvarel je slikarska tehnika koja funkcionira jedino u okolnostima u kojima se njome bavi darovit i vješt umjetnik. To je jedina tehnika koja ne dopušta popravke, naknadne intervencije i duži rad na slici. To je mogućnost da se istodobno pokažu dar, mjera i vještina. Zato, akvarel je uvijek u istoj mjeri: dar, vještina i događaj. Naravno: događaj je ono što je umjetnik pokušao da predvidi, ali što mimo njegovoga dara i vještine – slikarskog umijeća, slici određuje mjeru u estetskom smislu. Postavlja granicu.
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The subject of this article is the image of an old female body in the video called Jar of soup (2004), created by a contemporary Ukrainian artist Serhiy Bratkov. It is a short video showing an old, lonely woman eating a beetroot soup from the jar. In this work, old age was presented primarily in the bodily dimension. Using the image of an old body, which is marginalized in official visuality, the artist raises a number of issues important both for Ukrainian society and for the overall reflection on the problem of old age and women aging. I see the work of Bratkov primarily in the Ukrainian context: as a bitter reflection on the attitude to old age in the post-Soviet society and as a comment to the symbols of femininity established in the Ukrainian culture, closely related to national ideas.
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Murádin Jenő: „Én Bolygó szél vagyok” Egy székely litográfus a reformkorban. = Székelyföld. 2017. 7. sz. 135 – 148 p.
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Influence of artistic education is examined and, in particular, her component part - independent work from an academic course "Picture" on the professional internalss of future designer, becoming of him creative personality. Research methodology consists in application of scientific and special methods of scientific cognition, is based on the criteria of objectivity and subjective experience, leans against totality of labors of home and foreign specialists. The marked methodological approach allows to analyze useful property of receptions and methods of application structurally-analytical to рисунку and рисунку after imagination, стилізації and interpretations as independent work for the sake of acquisition of skills of the креативного, associative thinking and development of creative potential of designer. The scientific novelty of work consists in expansion of ideas about the value of system, individual, independent work of students in mastering of academic course "Picture ", accenting of programmatic tasks in preparation of design specialists that envisage gobbing of bases of understanding of concepts "formalization" and "стилізація of nature", in fact possessing artistic facilities and ability of the креативного, conceptual thinking is the important constituent of professional preparation of designers. Conclusions. The future urgently needs spare the special attention to creative personality, to look over, and at a necessity, and to change the existent theory of studies, that must be aimed at forming of active, responsible, strong personality apt at саморозвитку and selfrealization. Actuality of problem of mastering of academic course "Picture " due to system independent work of students is included in the number of major in a study artistic disciplines.
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The article introduces the jubilee exhibition of the forefather of Latvian national painting Janis Rozentāls. His ambitious retrospective show was on view at the Latvian National Museum of Art in autumn 2016.
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The article presents the applied art and design section of the large jubilee exhibition dedicated to the versatile Latvian artist Romans Suta (1896-1944). The show took place at the Museum of Decorative Arts and Design in Riga in spring 2017.
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The former Arts and Crafts State School for Carving and Sanding Stone in Zalatna (today: Zlatna, Romania) preserved its plaster cast collection for about seventy years. The school was operating at the turn of the century and served the Gründerzeit’s building industry’s need for stone carvers. Its stone grinding activity has been the first and only educational activity of this kind in historic Hungary. Along with the new Hungarian economy at the turn of the century, many of the industrial schools in Transylvania were generally based on local traditions and the available raw materials. Wood and metal industrial schools were predominant in the modern national industrial educational system with such institutions in Arad, Timișoara / Temesvár, Cluj / Kolozsvár and Târgu Mureș / Marosvásárhely, a wood carving school in Brașov / Brassó, stone and clay industrial schools in Odorheiu Secuiesc / Székelyudvarhely and the school in Zalatna. Here, once they finished their studies, the students were employed mainly by architectural and stone mining companies based in Transylvania and in the Banat region of Hungary. The school’s educational collection is comprised of plaster casts, clay samples and carved stone models. This collection illustrates the extraordinary unity of the school’s fin de siecle use of plaster for educational purposes. The plaster casts can be divided into three main groups. The first is comprised of prefabricated plaster cast from Vienna’s Museum of Angewandte Kunst (MAK) and the Budapest based Institute of Pedagogy. The second group includes the models made by the students during modelling courses which preceded stone carving classes. The third group reflects the educational reform of architect Géza Gréb, the second director of the school from 1908 who introduced the modelling of minimalized architectural structures (vaults, staircases, etc.) in the practical training of stone carvers.
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Kadira Nokić, rođena u Novom Pazaru 10.03.1978. godine. Fakultet umjetnosti završila u Prištini, smjer grafički dizajn, u klasi profesora Fatmira Zajmija 2000. godine. Međutim, njeno bavljenje umjetnošću se skoro u potpunosti, od samog početka, svelo na zanimanje slikarstvom. Po završetku fakulteta dvije godine radila kao pomoćnik kustosa u galeriji Sopoćanska viđenja, a poslije toga stalno zaposljenje nalazi u obrazovanju (najprije u osnovnoj skoli, a zadnje četiri godine u gimnaziji). Član SULU-a (Sandžačkog udruženja likovnih umjetnika) od njegovog osnivanja
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The novelist, poet, essayist, and art historian Johannes Urzidil (1896_1970) was a Prague-based author who wrote in German. His life re_ects the multicultural milieu of the First Czechoslovak Republic (1918_1938) before the Second World War and also the subsequent events of the ‘age of chaos’, which tore apart social and cultural bonds, destroyed the homes of many people, and, if they did not lead to their violent deaths, made them ‘nameless’ refugees seeking to begin a new life elsewhere. Further testimony to that appears in previously unpublished correspondence between Johannes Urzidil and the painter Hannes Beckmann (1909_1977) as well as in other preserved documents. Together with two of Urzidil’s essays about Beckmann’s works, with additional commentary, speci_c dates, references, and biographical information, they constitute testimony about questions that these two men were interested in and the in_uences on their creative environments in Czechoslovakia and the United States from the 1930s to the 1970s.
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Abstract Expressionism can be seen as a valid expression of the crisis of ‘Modern Man’ and, as a result, it assumed a central role in the cultural debate of its time. Within this crisis can be situated a new form of representing the ancient myths. William Baziotes, an artist who belongs to the New York School, becomes a modern ‘myth-maker’ who creates metaphors and symbols which refer to primitive cultures and primeval worlds. If a few of his paintings allude in their title to a particular Classical myth, others, without a specific title referring to a myth, have strong affinities with mythology. Classical myths seem to be entwined with the artist’s own personal myths, interpreted through his own language and his own symbols.
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