The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan

For the Chinese, fine art is one of the most important items in human life. The goals of fine arts education enhance the student so that s/he can make reasonable judgments about work, gain knowledge of color and understand the process of designing environmental layouts. Related technique and creativity training are offered students in accordance with individual differences and social expectations.^ Traditionally, Taiwan's junior high school fine art program teaches mainly painting technique. The Ministry of Education in Taiwan determines the curriculum of junior high school fine art education. The purpose of this study was to determine the effects of teaching Chinese painting appreciation on the artistic achievements of junior high school students in Taiwan. The subjects were seventh grade students who had never learned Chinese painting before. Two classes were randomly chosen from each target school and were designated as the experimental or control group. Instruction in all groups was delivered by the researcher himself. At the end of the study, data about subjects' related knowledge, creative technique, and feeling toward Chinese painting were systematically collected and analyzed.^ The result of the study was that students in the experimental group were more motivated to learn Chinese painting than were the students in the control group. Students in the experimental group made better progress in the development of creative skill, had better critical ability, and demonstrated better performance in Chinese painting form, set up, stroke and color of related knowledge than did students in the control group. It was therefore concluded that Chinese painting appreciation education can promote better artistic achievement and that this approach should be used in other areas of art education. ^

Målarpoeten Ellen Thesleff : teknik och konstnärligt uttryck

The aim of this thesis has been to illustrate the multifaceted talent in Ellen Thesleff's (1869 - 1954) work with particular emphasis on her technique and artistic expression. Why did Ellen Thesleff work withso many techniques? How did the technique affect the expression and what characterizes it? It would also be of interest to gather some idea of Ellen Thesleff's position among other artists. The investigation covers a representative selection of about 60 pictures, using nine different techniques, primarily as oils, woodcuts and monumental painting. The pictures illustrate three periods of time, the natural (1890 - 1905), the colourful (1906 - 1927) and the free period (1928 -1950). I describe the pictures in regard to their conception and subject matter and scrutinize their formal creation. Thereafter, I investigate the painting technique and artistic expression of each picture and position it, where applicable, in relation to other art. Ellen Thesleff's artistic quality is discussed in relation to her techniques and expression. Thesleff consciously chooses different techniques for related subjects in order to vary the expression. The progressing evolution within individual techniques and a cross-fertilization between them has evidently contributed to raising her artistic quality. I have studied how the techniques influence expression and found it possible to identify certain characteristic styles during the three periods: first a natural painting technique which reminds one of both French realism, paintings reflecting the Nordic mood and atmosphere, and symbolism, ascetism and synthetism; later an expressive Thesleff colourism with brilliant over- and underpainting in contrasting colours and last a free decorative painting in lines, with symbolistic undertones. Most characteristic is the lyrical expression which seems to be a common theme throughout Thesleff's entire artistry. I have found that Ellen Thesleff in her works had herown personal style compared to her contemporaries. Despite deep knowledge of styles and techniques she continually creates art from her inner self and with her own personal brush signature.

Effect of polymerization and accelerated aging on iris color stability of ocular prosthesis

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Análise da estabilidade de cor de botões de íris artificiais obtidos por diferentes técnicas e após o envelhecimento acelerado

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Herança, manutenção e origem dos diferentes tipos de cromossomos B em Prochilodus lineatus (Characiformes, Prochilodontidae) do rio Mogi-Guaçu

Pós-graduação em Ciências Biológicas (Genética) - IBB

Color stability of the artificial iris button in an ocular prosthesis before and after acrylic resin polymerization

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Influences of psychological and experiential processes in paintings of Sheila Sobol

"For a number of artists, the activity of making. art is an inquiry into: the nature of art, the true nature of reality, and the execution of artistic ideas. This inquiry ·is benefited by recognizing psychological processes and theories, subjectl.ve and external experiences, and technical and aesthetic knowledge. The "creative process" contains this inquiry and can be likened to a hinge which connects the art produced and the artist"

The execution of the mural arts of the West

"This thesis describes and explains the execution of the casein mural, 'Arts of the West'. The artist's project was to prepare a casein mural for the Pioneer Room of the New Student Union at the University of Denver."

Women at work: Camilla Chambers; artist at work in studio

Inscription: Verso: Women at work: miscellaneous occupations.

Benedetto Gennari ritrattista e pittore di corte in Europa tra Sei e Settecento. I dipinti, la committenza e il diario di lavoro

Cresciuto in una delle botteghe artistiche più prolifiche e illustri della Bologna di metà Seicento, Benedetto Gennari riuscì a distinguersi più degli altri collaboratori del Guercino per una brillante carriera all’estero internazionale che lo portò prima in Francia e poi in Inghilterra, dove seppe ritagliarsi uno spazio di rilievo tra i ranghi della corte, ottenendo finanche la nomina di primo pittore di Giacomo II Stuart. Partendo dall’analisi dei suoi Memoriali, dalla loro natura e dalle ragioni della loro compilazione, il presente studio intende indagare e restituire il profilo dell’artista. Attraverso l’analisi critica della documentazione autografa, di testimonianze edite e inedite e di informazione sui suoi guadagni e sul metodo di lavoro, il lavoro traccia le tappe della lunga attività del pittore, contraddistinta da commissioni di rilievo per importanti mecenati e collezionisti italiani e stranieri. Ben lontano dall’essere un semplice imitatore di provincia, Benedetto divenne un artista di corte, maturando un linguaggio raffinato e a tratti irriverente, che si configura come una personale variante del classicismo bolognese. Su questi aspetti fa luce l’apparato catalografico in cui trovano posto anche opere inedite, riletture iconografiche di quadri noti e indagini tecnico-diagnostiche effettuate, su due dipinti significativi, dal Laboratorio Diagnostico per i Beni Culturali del Dipartimento di Beni Culturali dell’Università di Bologna al fine di documentare la tecnica pittorica dell’artista dopo il suo trasferimento all’estero.

What is art? Studies in the technique and criticism of painting,

Mode of access: Internet.

Uncover the mantle: rediscovering Gregório Lopes palette and technique with a study on the painting “Mater Misericordiae”

Grego´rio Lopes (c. 1490–1550) was one of the most prominent painters of the renaissance and Mannerism in Portugal. The painting “Mater Misericordiae” made for the Sesimbra Holy House of Mercy, circa 1535–1538, is one of the most significant works of the artist, and his only painting on this theme, being also one of the most significant Portuguese paintings of sixteenth century. The recent restoration provided the possibility to study materially the painting for the first time, with a multianalytical methodology incorporating portable energy-dispersive X-ray fluorescence spectroscopy, scanning electron microscopy–energy-dispersive spectroscopy, micro-X-ray diffraction, micro-Raman spectroscopy and high-performance liquid chromatography coupled to diode array and mass spectrometry detectors. The analytical study was complemented by infrared reflectography, allowing the study of the underdrawing technique and also by dendrochronology to confirm the date of the wooden panels (1535–1538). The results of this study were compared with previous ones on the painter’s workshop, and significant differences and similitudes were found in the materials and techniques used

The materials, technique, conservation treatment and after-care of interior de um convento

Dissertação apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para a obtenção do grau de Mestre em Conservação e Restauro, especialização em pintura sobre tela

Treatment of a nineteenth century male portrait in oil including the characterisation of materials, technique and a study of the lead soap aggregation in the paint composite

Dissertação para obtenção do Grau de Mestre em Conservação e Restauro

Design and evaluation of a solid sampler for the monitoring of airborne 1,6-hexamethylene diisocyanate (HDI) and its prepolymers in 2-component spray painting

An active, solvent-free solid sampler was developed for the collection of 1,6-hexamethylene diisocyanate (HDI) aerosol and prepolymers. The sampler was made of a filter impregnated with 1-(2-methoxyphenyl)piperazine contained in a filter holder. Interferences with HDI were observed when a set of cellulose acetate filters and a polystyrene filter holder were used; a glass fiber filter and polypropylene filter cassette gave better results. The applicability of the sampling and analytical procedure was validated with a test chamber, constructed for the dynamic generation of HDI aerosol and prepolymers in commercial two-component spray paints (Desmodur(R) N75) used in car refinishing. The particle size distribution, temporal stability, and spatial uniformity of the simulated aerosol were established in order to test the sample. The monitoring of aerosol concentrations was conducted with the solid sampler paired to the reference impinger technique (impinger flasks contained 10 mL of 0.5 mg/mL 1-(2-methoxyphenyl)piperazine in toluene) under a controlled atmosphere in the test chamber. Analyses of derivatized HDI and prepolymers were carried out by using high-performance liquid chromatography and ultraviolet detection. The correlation between the solvent-free and the impinger techniques appeared fairly good (Y = 0.979X - 0.161; R = 0.978), when the tests were conducted in the range of 0.1 to 10 times the threshold limit value (TLV) for HDI monomer and up to 60-mu-g/m3 (3 U.K. TLVs) for total -N = C = O groups.