Field Of Fine Arts Research Articles

Atatürk ve Güzel Sanatlar

Atatürk ve Güzel Sanatlar ÖzetBilindiği üzere Türkiye Cumhuriyeti’nin kurulmasından kısa süre sonra hemen hemen her alanı kapsayan bir reform süreci başlatılmıştır. Bu yenilik hareketleri sosyal, siyasal, ekonomik vb. alanlarda görüldüğü gibi kültürel konularda da karşımıza çıkmaktadır. Atatürk kültürün önemli unsurlarından biri olan güzel sanatlardaki gelişime çok önem vermiş ve teşvik etmiştir. Uygar ülkeler arasına girmenin güzel sanatlar alanındaki başarılara bağlı olduğunu belirtmiştir. Bu yüzden 1936 yılında Devlet Konservatuarı kurulmuş, sahne sanatları, resim, müzik, heykel v.b güzel sanatların her alanında sanatçıların yetişmesi sağlanmıştır. Bu arada geleneksel sanatlara da önem verilmiş fakat Batılılaşma sürecinin hızıyla biraz geri planda kalmışlardır. Ataturk and Fine Arts Abstract As known, soon after Turkish Republic was founded, a reform process covering almost all fields was launched. These reform movements are also seen in cultural issues as well as in social, political and economic fields. Ataturk attached great importance to the development in fine arts which is one of the important elements of the culture and encouraged it. He stated that entering into civilized countries is up to the achievements in the field of fine arts. Therefore, state conservatory was founded in 1936 and artists in all fields of fine arts like performing arts, painting, music, sculpture were raised. Meanwhile, traditional arts were also emphasized, but remained a bit in the background because of fast process of Westernization. Atatürk et Les Beaux-ArtsRésuméComme on le sait, peu de temps après la fondation de la République de Turquie, le processus de réforme a été lancé dans presque tous les domaines. Ces mouvements d’innovation apparaissent dans les domaines culturels ainsi que dans les domaines sociaux, politiques et économiques. Atatürk a aussi accordé une grande importance au développement des beaux-arts qui sont un des éléments de la culture. Il a précisé l’importance des succès dans le domaine des beaux-arts pour pouvoir se classer parmi les pays civilisés. De ce fait, le Conservatoire d’Etat a été fondé en 1936 et les artistes ont été instruits dans plusieurs domaines de l’art plastique comme la scène, la peinture, la musique, le sculpture etc. De même, on a aussi accordé une importance aux arts traditionnels mais, du fait de la rapidité d’occidentalisation, ils sont restés en arrière-plan. أتاتورك والفنون الجميلةملخصكما هو معروف، بعد وقت قصير من تأسيس الجمهورية التركية قد بدأت فترة تغيير في كل المجالات. نرى هذه الحركات التغييرية في مجالات ثقافية كما نراها في المجالات الاجتماعية والسياسية والاقتصادية. وأعطى أتاتورك أهمية كبيرة في تنمية الفنون الجميلة وشجّع عليها. وقال إن الدخول بين الدول المتحضرة ترتبط بنجاحات في مجالات الفنون الجميلة. لذلك أُسِّسَ كونسرفتوار الدولة في عام 1936. وبذلك نشأ فنانون كثيرون في مجالات الفنون المسرحية والرسم والموسيقى والنحت. وفي الوقت نفسه جرى التأكيد على الفنون التقليدية، ولنكنها بقيت في الخلفيات بسبب التغييب السريع.

Body and the Arts: The Need for Somaesthetics

AbstractThis essay examines how somaesthetics is related to the field of fine arts, though the scope of somaesthetics is indeed wider, extending into all practices of life in which we can enhance our perception and performance through improved somatic self-use and self-knowledge. I first explain the project of somaesthetics and why it is needed to counterbalance the strong tendencies in mod-ern aesthetics, beginning with its founder Alexander Baumgarten, to neglect or reject the body’s role in aesthetic experience. Because Hegel is a crucial figure in this anti-somatic tradition, I then critically examine his ranking of the arts in terms of their relation to material embodiment. Using his classificatory scheme heuristically to highlight the body’s wide-ranging role in the different arts, the essay demonstrates how somaesthetics can improve our understanding and performance of that role and thereby improve the arts and our aesthetic experience.

Le corps et les arts : le besoin de soma-esthétique

This essay shall consider how somaesthetics is related to the field of fine arts, though the scope of somaesthetics is indeed wider, extending into all practices of life in which we can enhance our perception and performance through improved somatic self-use and self-knowledge. It begins by clarifying the idea of somaesthetics and how it is needed to counterbalance the strong tendencies in modern aesthetics, beginning with its founder Alexander Baumgarten, to neglect or reject the body’s role in aesthetic experience. Hegel, a crucial figure in this tradition, will be critically examined, specially as to his ranking of the arts in terms of their relation to material embodiment. Using his classificatory scheme heuristically to highlight the body’s wide-ranging role in the different arts, it is argued that somaesthetics can improve our understanding and performance of that role.

Révéler l’Art Brut : À la recherche d’un musée idéal

Jean Dubuffet thought of museums as «morgues for embalming» or «citadels of official culture», and denounced «the sterilized actions of their culturales pomp». The initiatives he led between 1945 and 1976, in order to define and finally institutionalize Art Brut, forged in spite of apparent contradictions, a veritable museological reflection towards outsider works. Our article attempts to identify the strategies for the conservation and presentation of Art Brut by examining the initiatives that were prevalent during the inception of its very notion. We focus on certain seminal moments during Dubuffet’s singular contribution, targeting the resistance he observed and the museum approaches that he dispelled. By breaking away from the traditional museum and the practices in place at this time in the field of fine art, he virtually conceived of an «ideal museum», imbued with an ethnological sensibility, resonating with scientific values and responsive to the discourse of the intellectual community.

On the Dramaturgical Aspects of Bill Viola's Multi-media Installations

The object of our study is to outline the particular nature of dramaturgical practice in media art, which has up to the present time been incorporated into the field of fine arts. In order to study...

Provenienzforschung einmal anders betrachtet

With the printing press the transfer of knowledge also experienced a surprising upswing in the field of fine arts. The history of the dissemination and acquisition of pertinent publications can also provide interesting factual information for art history and cultural history. This should prompt those involved with stock research or restitution of confiscated art to give more attention to publications on art theory and architectural theory as well as pattern collections, particularly those from the early modern times.

An unusual paper about an important topic

The scientific literature has many purposes and can take many forms. It represents an ever-growing peer-reviewed archive that documents the progress of our understanding the world in which we live in all its forms. It is a living and growing organism and, in the case of the biomedical literature, has huge potential for good, as it facilitates a continuous improvement in the health of all mankind. Journals such as this have a key role in such enterprise. The paper 1 that follows this Editorial might thus seem out of place! Van Speybroeck et al submitted for publication a manuscript that describes three related artworks prepared by the Dutch artist Piet Hein Eek. The paper places this work in the context of the hospital where the work is displayed and the circumstances of its commissioning. On submission to the Journal the work was considered at length by the Editorial team. Subsequently, the manuscript was peer reviewed and subject to revision by the usual route. Does this mean a departure from the usual requirement for high quality scientific submissions? Is the Journal entering the field of fine art? Readers, authors and all associated with the Journal should rest assured that the answer to both these questions is most certainly ‘No’! So why should The Journal of Pathology trouble itself with such an unusual manuscript? The answer is quite simple. The Editorial team, The Pathological Society (the owners of the journal) and the publishers believe we have a broader responsibility not only to the scientific community but also to the general public. The subject of the autopsy induces considerable negative feelings towards pathologists and pathology as a whole. In the UK, the undisclosed or unauthorized retention of post-mortem organs has particularly caused disquiet in the lay community, often inflamed by inaccurate and sometimes disingenuous media coverage. Similar events have occurred elsewhere and the public perception of pathology deserves our serious attention. There are many possible strategies that can be taken to redress this situation. For example, The Pathological Society has commissioned the writing, by the well-known medical and scientific journalist Sue Armstrong, of a book for the general public, due to be published in late 2008. This book centres on conversations and interviews that Sue Armstrong has had with pathologists from all branches of the discipline and from all parts of the world—conversations that highlighted the central role of pathology and pathologists in the management of the living, not just the dissection of the dead! But we all have a duty to raise the profile of pathology. It is in that spirit that the Editorial team decided to publish ‘Memento of the post mortem’. It is a unique and most unusual work and we felt it deserved publication in a high-profile journal. It is available free to all online, a decision taken to facilitate wide readership, including by those who are not part of the scientific and/or pathological communities. The Journal of Pathology remains a scientific journal, committed to the highest possible standards, but we trust that readers will agree that the work has merit and accept the argument for its broad importance. Will we publish other such works? Perhaps: but only under very exceptional circumstances and only if the Editorial team can be convinced of the broader importance of such material.

The pedestal and the pendulum: fine art practice, research and doctorates

This article reports on the issues arising from the AHRC Research Review: Practice-Led Research in Art, Design and Architecture, published in February 2008 by the UK Arts and Humanities Research Council. These include the continuing question of defining activity in the field, the underdeveloped scholarly infrastructure, and the nature of the contribution to knowledge made by the artefact or designed object. The article also draws upon an analysis of completed doctorates in art and design made possible by the Art & Design Index to Theses (ADIT). This earlier project, which set up a scholarly resource for the research community, enables the growth of doctoral activity in the fine art field to be measured and the range of approaches to enquiry to be evaluated. The analysis of doctoral work to date indicates the extent to which professional practice has begun to be incorporated into doctoral projects. An uncritical revisionism or relabelling of activities within the realm of professional practice and doctoral study is evident in the data consulted in the two studies, reflecting the continuing prominence of the exhibition as a means of disseminating the outcomes of creative practice.

The processes and parameters of Fine Art PhD examination

The merger of art schools into academic institutions and the consequent proliferation of higher degree courses in the visual arts has created pressure for these courses to justify that their research content ‘measures up’ to more traditional research practices. This study aimed to identify the parameters for PhD examination and research practices in the field of Fine Art through interviews with Fine Art examiners as well as an analysis of written PhD examination reports. A comparison of PhD examination reports across disciplines revealed that there were similarities as well as some significant differences between the type of feedback provided by Fine Art examiners and feedback by examiners from other disciplines. Interviews with 15 Fine Art examiners from 11 Australian institutions provided information about the expectations, standards and models of evaluation in the Fine Art field as well as how examiners perceive their role and what constraints are evident in current examination processes.

Challenging the Perceptions of Adult Learners in Fine Art

A major barrier to learning for students in the field of fine art is the extent to which their established perceptions can inhibit their ability to transform their understanding. To transform perceptions it is necessary to challenge existing frameworks, but such challenges can have dramatic psychological and social consequences both for the student and the artist/teacher. This paper explores learning in the discipline of fine art and highlights problems for learners and teachers when learners are challenged to explore their socially constructed views on the nature of reality.

MÖSSBAUER EFFECT STUDIES OF FINE ARTS

In an effort to demonstrate the application of Mossbauer Effect Spectroscopy in the field of Fine Arts, a survey of iron-bearing pigments was undertaken, a back-scattering detector was designed and constructed, and terra-cotta statuary was studied. These results show that there is great potential for classifying artists' pigments that contain iron oxides as an aid to identification, that spectra can be obtained on works of art efficiently and harmlessly, and that certain types of problems can be solved regarding differences in terra-cotta statues.

Applications of Non-Dispersive X-ray Fluorescence Analysis to the Study of Works of Art

The analytical techniques of emission spectrography, x-ray diffraction and spectrography as well as the more traditional methods of chemical microscopy and micro-chemistry have by now been fairly well adapted to museum research problems in the field of fine art and archaeology. The usually very small samples, 1 mgm or less, are obtained from the work of art after careful examination to ascertain the suitability of the site of sample removal, and very importantly, with great regard for the physical and aesthetic integrity of the whole. The term 'non-destructive' testing has indeed been loosely applied to this kind of analysis in that the very small samples removed did not appreciably disfigure the work of art. The samples were obtained often from concealed areas, near the edges, near areas of restoration, or from the edges of damaged portions. It would not be possible to survey in a statistical way, for example, pigment composition over the entire surface, when perhaps only 4 or 5 samples could be removed, and at best, from the edges of the work, and perhaps restricted to certain colour passages. To arrive at a precise definition of the structure of the work would require the removal of a larger number of representative samples from the surface, and extending to the interior as well.

Se, tale, høre – oplevelsens kunst

See, talk, listen – the art of experience This article presents the manner in which two informants experience an exhibition of the works of a well known Danish painter, Ole Sporring. One of the informants, Jakob (27), wears a small video camera on his head which records his walk through the exhibition, looking at the paintings and talking with his companion, Gunnar (55). Ingemann states that he has used this method in video-walks previously in the context of a cultural history museum (Ingemann 1999). A painting can be seen as an object taken from one functional context – the painter’s studio – and contextualised in an exhibition with others of his paintings, drawings, photographs and objects (Braxendale 1991). Csikszentmihalyi & Robinson have found four factors that are important when one encounters an art-work: the perceptual, the emotional, the intellectual and the communication dimensions. In their project 57 informants educated in the field of fine arts themselves chose the artworks they related to as prototypical examples. In my project I focused on informants who had no formal art history training and I myself selected the exhibition they would visit. My theoretical starting point differs from that of Csikszentmihalyi & Robin- son in that they focus on the art whereas I focus on the informants and their experience (Dewey 1934).