This material refers to one of the many transition periods from the History of Art on the territory of Romania - that is the period which separates Paleolithic from Neolithic: Epi-Paleolithic, with its endcalled (and accepted, first of all!) by some researchers: Mesolithic. As we will see, we will refer to the art of this moment of great complexity and diversity. From an artistic pointof view, Epi-Paleolithic already has tools which can be placed in the category of technical beauty, as far as form is concerned, precision becomes more and more important,and also the skillfulness of their production and the delicate, refined finishing; also connected to the artistic side of the period, the interest for beauty for creating geometrical-abstract decorations increases, obviously becoming a coherent ornamental motif. In the final phase of Epi-Paleolithic, the Mesolithic period comes with an art which is different from the one of the culture Schela Cladovei, characterized by ornaments with simple geometrical motifs, liniar incisions, oblique or in a network, this geometry leading to the main compositional textures of decoration of the oldest phase of the future Neolithic culture Criș.
The existence of creation as narrated in the biblical stories has shown that there is advancement in humanity and in many other fields of endeavour. The creativity in art has advanced the economy, social-political and technological development of not only Europe centuries ago, but also in Africa. This advancement was much earlier realized and as a result of centers of creativity which were established to better the lives in their society. With the advancement of time, art decoration which has not been giving position because of arts aesthetical contents, began to generate success not only in the West where it originated from, but also in other continents of the world. The artist including the author and art aesthetics in Nigeria has not only been encouraged this upliftment, but, has gained enough ground to be appreciated. Decoratives are created by the artists; the use of forms embellished with colours has equally been appreciated in Nigeria and the societies of the world. The usefulness of decoration has been extended for both interior and exterior decorations for beautification and for other forms to solve other human endeavours.
The aim of the research is developing of the CISA in FAD course. The acquired skills will enable the creative explanation, understanding of the current artistic principles and the achievement of quality creative products. The research problem is the indigence of the creative process, the mechanical combination and the intuitive reproduction of the students' plastic artists experience and the lack of creative imagination in the creative process.
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.
This paper analyzes a phrase which is specific of cultural space from Iași called "The Iași School of Painting", a term which, as art critics say, is distinguished by several features including the harmony of the composition, the chromaticism and refinement of artistic expression. So, we start in this study with the founders of the first institution of artistic education in Iasi, which strongly influenced the local creative style of plastic expression, then, we talk about the period in which was materialized fully the traditional way of the Iasi school of painting. After December 1989 the visual art from Iasi has gone through many changes, being outlined a new approach to the artistic phenomenon in the context of technological development and the globalization, the moment in which the visual artists tried new plastics formulas. Today the expression the Iasi School of Painting is only a metaphor which illustrates the connection with the glorious past of the great masters.
In Europe, since the middle of the 19th century, physicians realized that by plastic creation an improvement of the mental state of many patients can be achieved. Painting, household chores or gardening were meant to eliminate boredom and to take the patients out of isolation. Various activities of today’s art-therapy. At the beginning of the 20th century, various authors showed interest for the paintings and drawings of mental patients. The interest attracted by the psycho-pathological art allowed the organization of international exhibits with the artistic works of the mental patients. The scientific approach of these ways of pathoplastic expression determined the emergence of institutions, studies, periodicals and international reunions concerning this topic.
Aesthetic education forms and develops a mental quality of the individual, namely, general receptivity to the world and life. It can be said, however, that aesthetic education includes a multiplicity of meanings, formative and educative in relation to personality. All this has a profound echo in the whole personality, whether at the emotional or behavioral level. Art touches and contributes to creating prints from which the later emotional pleasure, taste, artistic judgment and discernment on human values will develop. Emotion refers not only to the aesthetics but involves more often, ethics, behavioral preferences in choosing one or another conduct. Emotions enrich the register of artistic self-expression and complements the temperamental and the character profile of a person. Here we analyze these relevant issues in an experiment conducted at the “Elena Cuza” Primary School of Iasi, Romania. We also present the conclusions of Art Intervention in school for these students. Art intervention in school can become an affective-emotional aim in educator-student relationship and may have important, long term evolutionary consequences, referring to the achievement of personal ideals and efficiency of educational activity.
The present paper will refer to an aspect of processing metals on the territory of Romania, in Bronze Age and Iron Age (the second age habing been studied up to the moment when Prehistory ended: 1st century B.C., being continued by Antiquity). Unfortunately, few pieces were found in settlements and in necropoleis, so it is difficult to attribute the artifacts of the Metal Age to one or other of the existing cultures, though the region where they were produced can be mentioned. Consequently, their study can lead to another classification than the chronological one, and that is of the field of ornamental arts in metal. We will focus only on two types of objects that embellish the neck and the chest: necklaces and pendants, which help us create a vivid image of this important artistic field of the Iron Age on the territory of our country, these two joining the other important types of jewels: bracelets, rings, fibulae, phaleras.
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.
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.