Painting Teaching Research Articles

Supports/Surfaces or the teaching of painting

Artistes-étudiants dans les années 1960, les membres du groupe Supports/Surfaces ont, pour la quasi-totalité d’entre eux, été formés dans des écoles des Beaux-Arts ou des Arts Décoratifs de Paris ou du Sud de la France. Artistes-enseignants des années 1980 à 2000, leur nombre et leur longévité à des postes dans des écoles des Beaux-Arts fait de Supports/Surfaces le mouvement le plus représenté dans ces institutions. Nous étudions dans cet article la manière dont le positionnement théorique, esthétique et politique des artistes de Supports/Surfaces entre en ligne de compte dans leur pratique de l’enseignement. Prenant en compte l’évolution de leur démarche, et notamment pour la plupart d’entre eux le retour à la figuration, nous tentons aussi de saisir les modalités et l’ampleur de leur empreinte sur les tendances récentes de la création dans les écoles des Beaux-arts.

Традиции и инновации живописной составляющей в архитектурно-дизайнерском образовании

The article examines the historical and pedagogical component of painting training in the Russian architectural design education, considers the necessity to introduce innovative technologies into the system of architectural designers’ painting education. Taking into account modern realia, the authors propose original and efficient painting teaching methodology, which is relevant for all the levels of education, from the Bachelor’s degree level where the emphasis is on reproducing classical paintings to the Master’s degree level where students work with colour computer graphics.

HYPOTHETICAL APPROACHES TO SCAFFOLDING FOR LEARNING OF STUDIO PAINTINGS

Painting is a branch of visual arts discipline in Nigeria education and often traced to Paleolithic age. The study was inspired by the dismal attitude of undergraduate towards painting and painting media this makes it very important for painting instructors to vary both media and method in painting. Therefore, Scaffolding serves as a panacea in filling the existing gap. Quasi-experimental design was used in the study. 60 undergraduate fine arts students of 200 levels of 29 male and 31 female were taken from a Nigeria university. The study presented two research questions and formulated two null hypotheses at 0.05 level of significance. Scaffolding Painting Achievement Test (SPAT) was of 50 items objectives question extract from validated JAMB visual arts examination was the test items. The Data collected were analyzed with ANCOVA and t-test. Study disclosed that undergraduate students taught painting via Scaffolding performed better and no significant difference was recorded between the mean of both female and male arts learners exposed to Scaffolding. It was recommended that Scaffolding should be used for teaching of painting in Nigeria university.. DOI: 10.24071/ijiet.2020.040104

On the Feasibility of Incorporating Comprehensive Materials in the Teaching of Watercolour Painting in Chinese Universities

Since the 20th century, human art has gradually transformed into contemporary forms and comprehensive painting has started to emerge. As such, the teaching of watercolour painting should not strictly adhere to rules; colleges and universities also need to adapt their teaching method of watercolour painting according to the changes in the ideology of today’s society. With the development of contemporary watercolour art, new achievements in the art of teachers and the feasibility of comprehensive materials to expand watercolour painting have become the focus of contemporary watercolour teaching in Chinese universities.

A Study on Art Interests and Critical Thinking Dispositions of Students in Fine Arts Department of the Faculty of Education

In this study, it was aimed to investigate the relationship between the art interests and critical thinking dispositions of the students who study fine arts education in the faculty of education. The sample of the research consisted of 236 fine arts education students including 123 from the department of painting teaching and 113 from the department of music education. In the research, relational survey method was used. It was found in the research that the art interests of the students were at the level that can be considered as good. In addition, it was noticed that the average scores of critical thinking dispositions of the students were at moderate level. One of the findings obtained from the study was that there was no significant difference between the scores of art interest and critical thinking according to gender. Another finding was that art interests of the students in the music department were significantly higher compared with the scores of the students in the department of art education. In addition, a positive moderate level of relationship was found between the art interest and critical thinking, analyticity, inquisitiveness sub-dimensions; significantly low positive relationship with self-confidence, systematicity, searching truth and cognitive maturity sub-dimensions.

The Aesthetics of Inscape: Teaching Chinese Art with Barthesian Semiotic Theory

Abstract In Chinese art education, inscape (jing) is one of the most important, complex, and difficult traditional aesthetic concepts; it concerns the artistic world created in a work of visual art, literature, music, or dance. How to approach this crucial concept in the teaching practice remains a challenge. In this essay, the Barthian semiotic approach, which is mainly about the extension of the signification process, is viewed as a development from linguistic analysis to cultural studies. Its relevance to inscape is found in the aesthetic totality of the sublime in classical Chinese landscape painting. Applying Barthian theory to the study and teaching of Chinese landscape painting, this essay explores the issue of inscape sublimation in the context of Chinese and Western aesthetics. In particular, this essay explores the material world of inscape at the formal level, the sensuous world at the aesthetic level, and the conceptual world at the ideological level. Supported by analytical readings of selected masterpieces of landscape painting from the Northern Song period, the essay concludes that the extension of the signification process makes the creation and sublimation of the inscape totality possible, which demonstrates the key achievement of, and sets up the standard for, landscape painting in Chinese art, aesthetically and ideologically.

A Study of the Teaching of Abstract Painting in Junior High School

A Study of the Teaching of Abstract Painting in Junior High School

Comparative Study of Oil Painting Teaching in Chinese and European Universities

Comparative Study of Oil Painting Teaching in Chinese and European Universities

A Painting Teaching Mode Based on STEM Theory

Painting teaching is of great significance in cultivating students’ observation, imagination, creativity and personality. However, due to the outdated teaching methods, the traditional painting teaching mode makes it impossible to effectively combine relevant knowledge and painting skills during the teaching process and therefore makes it difficult to achieve the overall purpose of painting teaching. With this regard, a STEM (Science, Technology, Engineering, Mathematics) teaching method was proposed in this study and introduced into the entire painting teaching process. It includes three painting teaching programs, namely scientific inquiry, engineering practice, and communication enhancement and integrates “Painting 3D” software of Windows 10 for teaching. The teaching practice of the STEM teaching mode in the painting course proved that the teaching mode can effectively improve students’ ability to combine the learned theoretical knowledge of painting with the actual operation. At the same time, it can enhance students’ interest in learning and cultivate students’ comprehensive capacity.

Survey & Analysis on Education Status of Ink Painting’s Social Value and Study on Teaching Method

As an important kind of painting in Chinese history, ink painting contains strong national characteristic. Through the learning, understanding and appreciation of ink painting, we can help students understand the significance of cultural inheritance and improve their overall quality. Therefore, this study takes status quo of education of ink painting’s social value and teaching method as the research object, and uses the methods of literature analysis, questionnaire and case analysis to investigate and analyze the status quo of ink painting’s education. This study summarizes the characteristics and limitations of ink painting’s education, and expounds ink painting’s social value and its influence on students’ comprehensive ability in detail. In order to better transfer ink painting’s social value to students, this study combines situational teaching method with creative ink painting teaching method, discusses and designs the teaching method of ink painting in order to develop a more meaningful educational mode of ink painting.

Teacher's Supporting Behavior in Kindergarten Painting Teaching — Based on the Perspective of Children's Approaches to Learning

Teacher's Supporting Behavior in Kindergarten Painting Teaching — Based on the Perspective of Children's Approaches to Learning

A COMPARATIVE STUDY OF OIL PAINTING TEACHING IN CHINESE AND EUROPEAN UNIVERSITIES

A COMPARATIVE STUDY OF OIL PAINTING TEACHING IN CHINESE AND EUROPEAN UNIVERSITIES

Design and Application of Multi-screen VR Technology in the Course of Art Painting

Through introducing VR technology, multi-screen display technology and the necessity of application of VR technology in teaching and combining the course example of Art Painting, this paper expounded the basic method and realization approach of VR technology application in network teaching. First of all, virtual teaching and virtual experiment were achieved, and then online storage and sharing of Art Painting teaching content were achieved to reach the purpose of well mastering painting skills, theory and course features under network teaching environment.

Arte como experiência: ensino/aprendizagem em Artes Visuais

Este artigo apresenta reflexões acerca dos conceitos de arte como experiência e os processos de ensino/aprendizagem em artes visuais, tangenciando os campos da Arte, Arte-Educação e o ensino da pintura. Seu principal eixo consiste na abordagem metodológica que vem sendo pesquisada no Grupo de Estudos Estúdio de Pintura Apotheke e nas aulas de Graduação e Pós-Graduação em Artes Visuais da Universidade do Estado de Santa Catarina (UDESC).

Decorative composition tasks for painting as a means to develop students' creative personality (direction "Design")

The essay is dedicated to the problems of teaching painting at Design faculties of high schools and universities. The main task both in painting is to teach students to make a conscious choice of visual tools. Selection of pictorial means shall be determined by a figurative idea and shall contribute to the most expressional solution of a set problem. Approach to painting changes to become more analytical one, based on the laws of formal composition and color science. Special attention is paid to seeking for figurative solutions. In addition to educational activities students are challenged to perform their works at a high professional and artistic level and to develop their creative personality. In painting students shall create decorative compositions in the most free form provided that image objects are recognizable. Understanding of form elicitation patterns or image creation principles contributes to a more precise choice of figurative instruments and allows developing students’ creative abilities as required by the specifics of their professional education. . Purpose of the article: studies of painting teaching experience for efficiency and quality improvement, evaluation of disciplines that provide fundamental artistic training in development of designing skills and abilities of students. The method is based on the studies of General Painting Department of St. Petersburg Academy of Applied Arts named after Stieglitz as well as on the analysis of teaching methods of Russian classic academic school, in particular by N. Volkov and P. Chistyakov. Traditional methods of pedagogical studies have been used such as examination/observation, experience analysis and pedagogical experiments.

A Sociological Approach to Painting Teaching according to the Contemporary Greek Kindergarten Curriculum

A Sociological Approach to Painting Teaching according to the Contemporary Greek Kindergarten Curriculum

Views of painting teaching programme candidates toward virtual exhibitions

There are lessons including the use of basic information technologies in the Teacher Education Programmes as well as how these technologies can be used in educational activities and Internet supported Distance Education practices. Painting Teaching Programme candidates must acquire competencies regarding both personal and occupational development. This research performed for evaluating the contribution of virtual museums in personal and occupational development by the views of Painting Teaching Programme candidates.Research is an action research and data analyzed according to qualitative data analysis. Data gathered from Pamukkale University Painting Teaching Programme second graduate candidates in 2007-2008 academic years. Views were towards personal and occupational development, virtual artworks and general to virtual museums.Teacher candidates expressed that virtual museums may contribute to occupational and personal development. They also stated that they must see and look in artworks in the way of producing original artworks and developing self style as many as they can. According to candidates virtual artworks can not create the same impressions as real artworks and virtual museums can be a useful information resource.This research can provide information to educators lecturing computer or basic information technologies and also to the practitioners and researchers in the virtual museum design processes.

An Integrated Approach to Teaching Modernist Literature and Painting

Several years ago, I began using 35mm art slides to integrate the teaching of literature and painting, and I found that student understanding of both art forms, but especially of literature, improved drarlatically. When teaching neoclassicism, for example, I stress how the structural symmetry and line balance in Alexander Pope's Essay on Man and how the on-stage balance of characters in John Gay's Beggar's Opera have parallels in the symmetry and balance in the paintings of William Hogarth (for example, Marriage-A-LaMode) and even Rembrandt (for example, The Night Watch). Similarly, when teaching romanticism, I underscore how the unbridled power of the imagination in Samuel Coleridge's Kubla Khan is reflected in the asymmetrical structure in the paintings ofJ. M. W. Turner (for example, Fire at Sea), as well as how the dynamic action on the canvas of so many romantic paintings (for example, Jean Louis Gericault's Raft of the Medusa) continues beyond the limits of the frame, suggesting that the imagination cannot be artificially controlled by space. While I have had considerable success using the

Problems in the teaching of painting at the Dublin metropolitan school of art in post independence Ireland

Problems in the teaching of painting at the Dublin metropolitan school of art in post independence Ireland