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.
Art is one of the finest means of shaping the personality, of access to aesthetic and moral values of society. The paper presents some of the elements of communication through art, in the double sense of this process, from the artwork (creator) to the viewer, but also from the viewer to the work of art and creator. The key-element of this dual process is the empathy, the ability to feel the emotional states of others. It develops within a set of personality traits, including: emotional intelligence, emotional feelings diversity, cognitive skills, along with motivation and personal ideals. Art is a medium of communication but also an element of developing a general receptivity to the world and its authentic values.
Students and Teachers are an epic symbiosis in process of direct learning and academic advancement. Nowadays, this interaction is more bonded and interdependent with technology and equipment‟s, which in a whole system expands learning horizons. The digital era has introduced in the education system new modes of learning, a new way of life and style in schooling. This phenomenon changed the methods of teaching in universities, where lectures were accompanied with concrete explanations of works in modeling, in structural and conceptual sense. The relationship between a student of architecture and teachers broadened with introduction of computer aided modeling and simulation tools to construct those ideas into the reality. The study presented in this paper investigates conceptual methods in art, architecture, creativity and innovation in academic education, focusing on interactive teaching issues, and methods. The research methods consist of empirical observation carried out during 25 years of experience in academia, and direct observation of teaching methods. The purpose of this paper is to examine the evolutive process in teaching relations between architectural students and teachers, with the focus in educational competencies and communication skills. Findings indicate that through artistic concepts of “Modelarium” as an unconventional learning space, a tool and space that enables the partnership. An informal meeting place for artistic interaction, but, concurrently it is a formal part of the educational system in architectural studies, a strategy by which we can bring more: time, conceptual awareness of space and interactive teaching in architecture, which bonds multidimensional threads between students and teachers; thus, fostering a powerful sense of partnership, avoiding boredom and passive learning, while facing the challenges, associated with the development of technology, life style, real issues and global world trends. Research suggests that uniform and/or partially new strategy, cannot respond to all specific issues faced by students in day to day basis. Therefore, new teaching strategies must involve new partnerships, a brand new and a redefined role as a holistic symbiosis, as an response to a less functional and/or conventional academic system. Partnership, a new working symbiosis between students and teachers is an answer to the needs of working together simultaneously towards continuous improvement of academia processes.
This paper examined the Curriculum imperatives of Industrial design education and the Contextualism of the principles and practice of disciplines such as Applied Arts and Industrial Design viz-a-viz their constituent and contextual roles and place in design practice/ Industry. The issue of contextualism as it relates to Design and the Applied Arts according to DeRose, K. (2009) would seem to mean a collection of views, theories, principles or philosophy of Design / applied Arts which seems to emphasize the context in which the action principles or purpose of design is understood relative to such a context. ie. In Design, the principles and practice of Applied Arts / Design disciplines (such as in Architecture) for example, contextualism refers to that theory of design in which modern / contemporary designs (buildings, products or structures) are harmonized together with the contemporary design ideals, forms and characteristics peculiar to modern ways/styles of living. (Jencks, 2002).
This informed the need and thrust of this paper which was predicated on the consideration of contextualing such a role/place of the Applied Arts as a constituent of Design and spotlighting it to be innately and intrinsically connected to the resultative man-made material culture and society. The paper also seeks to establish that the principles and practice of Design education emphasises the Teacher-learner relationship which is aimed at imparting credible problem solving skills and initiatives such as drawing, drafting (draught-manship), modeling or sculpting (in clay or industrial plasticine) styling and prototype creation (realized by moulding/shaping of the clay material to assume any contour, shape, form or topology of the given object) in ordeer to achieve that innate context and desire for the perfect product so designed. This paper recommends that for any design to succeed it must emplace (strictly) a well articulated Industrial Design Curriculum which elucidates those Applied Arts principles and practice as a constituent/major component part in the Design process of manufacture of any given design initiative.
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.
The works of art are priceless going by the quality of works exhibited by an artist. The artist tends to describe a particular scene near to the natural object in question. In the 15th and 16th centuries , France relayed on the impressionists who graduated from workshops and schools of apprentice in the likes of Gauguin, Monet, Manet, Degas, Renoir Cezanne, Delacroix and others to capture scenes of the Parisian country side that existed long age. The artist and his works remain indispensible to the existing societies. This form of art venture is not new to Nigeria where schools and workshops of apprenticeship exist. In Nigeria, the existing heritage and traditions if not for the artists will not be translated into art by the artists particularly painters like Dale, Oshinowo, Oguntokun, Emokpae, El-Dragg and others. The existence of workshops and schools of learning art have trained more artists to keep the aesthetical values of art. The society would be no doubt an unpleasant community without a touch of the arts. The artists who on daily bases create by painting, sculpting to make the environment a pleasurable place remain an important factor in the society.
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.
The purpose of this study is to find out the arts teachers’ opinion regarding the three issues related to the strategies aimed to support pupils with artistic talent: what is? who supports? how do they support? the artistic talent. Three goals lead us to this aim: to sketch the profile of the pupils with artistic talent, depending on their conduct and needs; the identification of the activities to support these special children; the identification of the extent to which different institutions get involved in supporting the pupils with artistic talent. To achieve these goals, we used the opinion poll as a research method and the created instrument was represented by a five-item questionnaire - four of them requiring open answers and one for closed answers. A total of 29 teachers of visual arts and music education, theoretical and interpretive, were selected for this study. The obtained results brought us close to the image that the teachers have on the artistic talent phenomenon. According to the teachers, the artistic talent is visible if we pay attention to four fields: creativity, passion, harnessing talent, specific skills. Meeting the needs (material, emotional support, socialization with peers, recognition of their talent) can be sources of shaping the educational strategies to support pupils with artistic talent by the main responsible institutions - the Ministry of Education, inspectorates, schools, NGOs.
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 pleinair 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.
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.