Il teatro è arte visiva. Le premesse critiche di Toti Scialoja per una moderna concezione della scena

2020 ◽  
Vol 1 ◽  
pp. 113-127
Author(s):  
Martina Rossi
Keyword(s):  
Visual Art ◽  
Fine Arts ◽  
Fine Art ◽  
The Arts ◽  
Mise En Scene ◽  
Italian Culture ◽  
The Sixties

Il teatro è arte visiva is an undated and unpublished text by Toti Scialoja. It has been found in the archive of the artist among other documents related to his activity of teacher at the Academy of Fine Art in Rome. The text could be seen as a proof of Scialoja’s lasting interest in the reflection on the role of the arts in the mise en scène. In particular, he started to propose his own opinion inside of Italian culture debate since the Forties. Some texts on this matter have been published between 1944 and 1946 on “Mercurio”, and in 1949 on “L’Immagine”. Considering those precedents, Il teatro è arte visiva could be considered a summa of the principles that Scialoja already expressed in those previous texts, but actualized according to new experiences, like Grotowski’s Poor Theatre. This mention suggests to propose a dating of the document subsequent the second half of the Sixties and to refer it to his experience as Professor of Scenography at the Academy of Fine Arts. It consents to highlight how he educated his students in light of the most important and innovative experimentation scenic of Avant-gardes, instilling in them the importance of considering theatre like a visual art, formally independent from the single contribution of paint, sculpture, and architecture.

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.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

Fine Art material at the British Library Lending Division

1978 ◽  
Vol 3 (2) ◽  
pp. 4-12 ◽  
Author(s):  
Mary Godfrey ◽  
Peter Robinson ◽  
Stephen Vickers
Keyword(s):  
Fine Arts ◽  
Fine Art ◽  
British Library

The needs of the researcher in the fine arts are considered. The nature of inter-lending in the field is outlined, and in particular, the role of the British Library Lending Division and its ability to supply this material are examined, together with an appraisal of its current stocks and acquisitions policy.The opinions expressed in this article are those of the authors and do not necessarily reflect the view of the British Library.

scholarly journals PSIKOLOGIS DALAM SENI: KATARSIS SEBAGAI REPRESENTASI DALAM KARYA SENI RUPA

2020 ◽  
Vol 2 (2) ◽  
pp. 105
Author(s):  
Ernawati Ernawati
Keyword(s):  
Visual Arts ◽  
Personal Experience ◽  
Visual Art ◽  
Qualitative Method ◽  
Multidisciplinary Approach ◽  
Visual Image ◽  
Psychological Aspects ◽  
Visual Elements ◽  
The Arts

Tujuan penelitian ini adalah mengungkap peran aspek psikologis katarsis dalam karya seni rupa. Prinsip seputar psikis dapat dipraktikan dalam karya seni, salahsatunya gerakan seni rupa kontemporer. Kajian karya berdasarkan aspek psikologis, salah satunya katarsis termasuk hal yang krusial untuk dilakukan.  Metode pada penelitian ini menerapkan metode kualitatif dengan pendekatan multidisiplin (psikologi seni dan semiotika). Hasil penelitian menunjukkan bahwa Perspektif lebih obyektif karena seniman sebagai kreator berbanding lurus dengan karya yang disajikan. Elemen visual yang dipilih dan disajikan seniman tersusun berdasarkan kemampuan kreatif menyusun citra visual yang berangkat dari aspek pengalaman yaitu berupa rasa khawatir/kegelisahan atau ketakutan yang mendasarinya dalam berkarya. Karya seni yang terwujud representasi dari dunia psikis seniman sebagai kreator. Pendekatan psikologis dalam berkarya dengan dipadukan kemampuan akademik dari aspek keilmuan seni rupa setidaknya mampu memperkaya keilmuan dalam keberagaman seni rupa. Dalam konstelasi seni rupa Indonesia kontemporer, kajian dari perspektif psikologis, khususnya katarsis pada karya seni berelasi dengan psikobiografi atau pengalaman pribadi seniman. This research aims to explore the role of catharsis psychological aspects in visual artwork. The principle surrounding the psychic can be practiced in the artwork. One of them is contemporary art movements. A study of works based on psychological aspects, one of which is cathartic includes the crucial thing to do.  The method in this study implements a qualitative method with a multidisciplinary approach (the psychology of Art and semiotics). The results show that perspective is more objective because the artist as a creator is directly proportional to the work showed.The selected and presented visual elements by the artist are arranged based on a creative ability to compose a visual image that influences the experience aspect of worry/anxiety or fear underlying it in the works. The artwork embodied is a representation of the part of a psychic artist as creator. The psychological approach of working combined with the academic ability of the science aspect of the arts is at least, capable of enriching science in the diversity of visual arts. In the constellation of contemporary Indonesian visual art, a study from a psychological perspective, especially catharsis on artwork relates to a psychobiography or an artist's personal experience.

scholarly journals 2. The Openness of the Visual Art Curriculum towards a New Visual Art Language

2016 ◽  
Vol 12 (2) ◽  
pp. 175-182 ◽  
Author(s):  
Ana-Maria Aprotosoaie-Iftimi
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Visual Art ◽  
Fine Arts ◽  
Art Curriculum ◽  
Daily Lives ◽  
The Arts ◽  
Wide Range ◽  
Arts Curriculum ◽  
Hybrid Language

Abstract Visual art curriculum should allow a wide range of activities to develop children's imagination and creativity, to provide a balanced framework for the harmonious development of people who can cope with the massive ammount of images that invade our daily lives. Contemporary art develops a new language - a hybrid language - which for now remains unknown to the majority of the public and it is not integrated into the Arts curriculum. General frame analysis reveals that Fine Arts are studied only up to the 10th grade, except for the humanity profile and for the vocational arts profile. School curricula stipulate fine arts study up to mid twentieth century. Openness towards contemporary art and the language of art starting with the second half of the twentieth century is quite limited even if the curriculum allows a certain flexibility in the approach.

Creational Aesthetics and the Challenge of Conceptual Art

2016 ◽  
Vol 20 (5) ◽  
pp. 663-673
Author(s):  
Steven Félix-Jäger
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Conceptual Art ◽  
Art World ◽  
Theological Aesthetics ◽  
The Arts ◽  
Essential Form ◽  
God's Image

A trend in theological aesthetics is to advocate for a “creational aesthetic” when discussing the ontology and calling of the artist. In its essential form, a creational aesthetic affirms that artists honor the Creator God by creating art. In some way artists are functioning as God’s image when they make art. While this view is popular in the Christian engagement of the arts, it is uncertain if such an observation is the preeminent way of understanding the role of the artist. Can one be considered an artist if s/he is removed from the tactile process of making? In the contemporary art world, the role of the artist in visual art has come into question with a stronger emphasis on conceptuality, over and against construction. In this article I argue for an alternate way of understanding creational aesthetics that makes room for conceptuality in art.

scholarly journals Artistic stylization as the main means of expression in different genres of fine arts

2021 ◽  
pp. 165-169
Author(s):  
Veronika Zaitseva
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fine Arts ◽  
Fine Art ◽  
Scientific Methods ◽  
The World ◽  
Analysis And Synthesis ◽  
General Scientific ◽  
Artistic Images ◽  
Comprehensive Study

The purpose of the article is to analyze the essence of the method of stylization and determine its creative and expressive role in various genres of fine arts. Based on the experience of the world and domestic visual art to explore the practical use of methods and techniques of artistic stylization. The methodology consists of the application of general scientific methods (analysis and synthesis, induction and deduction) and methods of art history (comparative, typological, descriptive). The scientific novelty of the work consists in a comprehensive study and identification of the features of expressive means of artistic stylization of a pictorial composition in different genres of modern fine art. Conclusions. Exploring the expressive means of artistic stylization of composition in various genres of fine arts, it can be noted that leading foreign and domestic artists in their work have widely used a variety of techniques and methods of creative stylization of artistic images. The analysis of the experience of the world and domestic visual art of fine stylization should promote better visual perception and creation of subject-spatial stylized compositions and is, therefore, an extremely fruitful object of research.

scholarly journals 4. The Place of Visual Art in the Development of Critical Dimensions of Thinking

2020 ◽  
Vol 20 (1) ◽  
pp. 204-210
Author(s):  
Gabriela Monica Assante
Keyword(s):  
Content Analysis ◽  
Data Analysis ◽  
Visual Art ◽  
Fine Arts ◽  
Educational Process ◽  
Community Life ◽  
Critical Dimensions ◽  
Musical Interpretation ◽  
Role Of Teachers

AbstractThe present study aims to describe the ways in which art education impacts community life through art products. The sample consists of 32 teachers/creators in various fields of work such as fine arts, composition, literature, musical interpretation, choreography and acting. Categorical content analysis is used for data analysis. The highest-ranking emerging theme is related to the means of educational intervention in the community through art. Artistic education leads to empowerment and emancipation by provoking people to think differently while the exposure to artistic creations has a therapeutic effect and contributes to identifying new ways of action. Artists in the role of teachers feel a responsibility both for the educational process and also for the emotional message that their creative product transmits to the audience.

scholarly journals Comparison Study for Art Centers in Greater Cairo To Achieve Heritage conservation

2020 ◽  
Vol 2 (2) ◽  
pp. 254
Author(s):  
Fatma Ahmed ◽  
Abanoub Fayez ◽  
Ahmad Haron
Keyword(s):  
Performing Arts ◽  
Fine Arts ◽  
Vital Role ◽  
Community Centers ◽  
Current Form ◽  
The Arts ◽  
Intellectual Abilities ◽  
Heritage Buildings ◽  
Greater Cairo

Art centers Art centers play an important role in building social connections and increasing the artistic sense of community in addition to enhancing peoples' creative skills and developing their analytical and intellectual abilities which lead to success. The vital role of art centers is developing the community traditional culture as well as calling for reviving the spirit of authenticity and preservation of cultural heritage.In Egypt Art Centers are worked asfunctional community centers that focus on supporting arts practice and facilities as art galleries act as museums that reflect many aspects of people’s lives.Educational facilities, workshops, a performing arts theatre, a fine arts library, music library, and dance and drawing studios supporting local communities and cover part of the gap between culture needs and available building and facilities in the city.Cairo’s role as the cultural capital of one of oldest civilizations in the world is reflected in the arts and architecture of all periods. Therefore, the art centers role in Greater Cairo varies to preserve and teach the traditional and new arts. Despite the emergence of museums in Egypt in the early nineteenth century, the establishment of art centers in Egypt in its current form began in the late fifties in the twentieth century. It appeared as new buildings or the reuse of heritage buildings. Its function is to revive and teach different types of art different periods, achieve conservation of identity, Cultural heritage and creating a new artistic value.This study will highlight the complex value of art centers buildings in Cairo with a comparison between its design, roles and methods of development. FromArchitects,Academicians, designers,andstudents point views toward sitting up a methodology for the design and development of arts centers in Greater Cairo.

scholarly journals The Experience of Doing Science with an Artistic Spirit: A Hermeneutic Phenomenological Study

2009 ◽  
Vol 19 (3) ◽  
Author(s):  
Krista Fogel
Keyword(s):  
Phenomenological Study ◽  
Fine Arts ◽  
Future Directions ◽  
Hermeneutic Phenomenological ◽  
The Arts ◽  
Phenomenological Methodology ◽  
Perceived Experiences ◽  
Highly Able ◽  
Hermeneutic Phenomenological Study

This paper focuses on the concept of extracognition. It reports a qualitative study that explored the perceived experiences of doing science with an artistic spirit through the voices of living scientists who also engage in the arts. The purpose was to understand how accomplished scientists who engage in the arts make sense out of their experience of doing science. Four highly able scientists with ex-pertise in their field who also self-identified as actively engaged in the fine arts were given voice on their perceived experiences of doing science. Through her-meneutic phenomenological methodology using thematic analysis, four major themes emerged. This paper focuses on one theme, “Feeling Connected to Some-thing More through the Arts.” Three sub-topics are explored in relation to extracognition: (a) intuition, (b) serendipity, and (c) spirituality. The role of the arts is emphasized in attaining such experiences. Educational implications, limi-tations and strengths, and future directions are discussed.

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