Instructional Model Development for Painting Wiratno, Tri Aru; Musnir, Diana Nomida; Suparman, Atwi
JETL (Journal of Education, Teaching, and Learning) (Online),
03/2020, Letnik:
5, Številka:
1
Journal Article
Recenzirano
Odprti dostop
Students can paint by developing ideas and ideas through deductive and constructive learning. Painting subject is a subject that is synonymous with learning painting skills. The technical mastery of ...painting is based on one's talent in the learning process of painting. Painting well is a satisfaction for a painter. Students are required to have a soul of creativity and know themselves as whole individuals in their lives. To grow in a new awareness about what are the ideas of his work, we need a learning model. With deductive and constructivist learning models that provide space for everyone to grow and develop themselves in learning painting. Developing a learning model of painting to be better and more effective and structured in painting without reducing the power of expression in making paintings. The development model in this study uses the Dick and Carey Model and the research method uses the Borg and Gall model. The results of this study are in the form of a development model of learning to work in painting that can increase interest and rank and insight in the field of painting.
As art historians have noted, Les Demoiselles d'Avignon (1907) occupies a very special place in the history of Western painting, both as the harbinger of 20th century modernism and as the progenitor ...of Cubism. For these reasons, as also for its convoluted history and multivariate interpretations, there is a vast art-historical literature on the painting. Yet creativity researchers have scarcely showed any interest in it as a creative phenomenon. This neglect is all the more striking once one realizes how the painting affords a veritable laboratory for exploring the nature of the complexity of creativity. Using the cognitive-historical approach this paper seeks to illuminate the complexity of the process by which Les Demoiselles d'Avignon came into being. In particular, it shows how the integrative actions of such cognitive processes as goal generation and structuring, purposive evolution, directed search through problem spaces, schema generation and elaboration, knowledge search, and cognitive identification, combined with elements of Picasso's cultural-historical milieu, and the knowledge-based interpretative judgment of later consumers of the painting shed light on the complexity of its creation.
Abstract
In the context of iterative progress of new tech represented by computer, the aesthetic needs of the public are also in the process of continuous improvement. In this context, oil painting ...art creation should not only consider the aesthetic needs of the public, but also pay attention to the psychological needs of the public. Based on this, this paper first analyzes the utilization characteristics and value of computer tech in oil painting creation, then studies the utilization skills of computer tech in oil painting creation, and finally gives the influence of computer tech on oil painting creation.
This research gathers a series of examples about the importance of the knowledge of the artistic work —graphic or pictorial— of other masters within the production of Domingo Martínez (1688-1749) and ...Juan de Espinal (1714-1783). Master and disciple, trained within the same artistic tradition, personify the best Sevillian painting of the 18th century, to whose greater knowledge this article intends to contribute, in which at the same time the attribution of eight unpublished paintings is proposed
Esta investigación recoge una serie de ejemplos en torno a la importancia del conocimiento de la obra artística —gráfica o pictórica— de otros maestros dentro de la producción de Domingo Martínez (1688-1749) y Juan de Espinal (1714-1783). Maestro y discípulo, formados dentro de una misma tradición artística, personifican la mejor pintura sevillana del siglo XVIII, a cuyo mayor conocimiento pretende contribuir este artículo, en el que a la par se propone la atribución de ocho pinturas inéditas
At present, macro X-ray fluorescence (MA-XRF) is one of the most essential analytical methods exploited by heritage science. By providing spatial distribution elemental maps, not only does it allow ...for material characterisation but also to understand, or at least to have a likely idea of, the production techniques of an analysed object. INFN-CHNet, the Cultural Heritage Network of the Italian National Institute of Nuclear Physics, designed and developed a MA-XRF scanner aiming to be a lightweight, easy to transport piece of equipment for use in in situ measurements. In this study, the INFN-CHNet MA-XRF scanner was employed for the analysis of a painting by the Flemish artist Rogier van der Weyden. The painting belongs to the collection of the Uffizi gallery in Florence and was analysed during conservation treatments at the Opificio delle Pietre Dure, one of the main conservation centres in Italy. The research aims were to characterise the materials employed by the artist and to possibly understand his painting technique. Although MA-XRF alone cannot provide a comprehensive characterisation, it nonetheless proved to be an invaluable tool for providing an initial overview or hypothesis of the painting materials and techniques used.
A workflow for the photogrammetric combination of non-invasive multispectral imaging techniques ranging from ultraviolet (UV) and visible (VIS) to near infrared (NIR) for the investigation of wall ...paintings is presented. Hereby, different methods for image analysis and visualisation techniques are discussed. This includes the combination of spectral bands in hybrid false-colour images and image analysis by applying NDVI/NDPI and PCA. The aim of the research is to generate a high-resolution photogrammetric image set, providing information on underdrawings, material differences, damages, painting techniques and conservation measures. The image data are superimposed with pixel accuracy in a geographic information system (GIS) for further analysis, tracing of observations and findings and the annotation of further information. The research is carried out on the 'Adoration of the Shepherds', an early Spanish Renaissance wall painting created in 1472 by Paolo de San Leocadio and Francesco Pagano in the Cathedral of Valencia. The wall painting is preserved in an unfinished condition, and half of it is represented by the initial plaster and preparation layers. This gives the possibility to compare and evaluate the observations of the finished areas as well as carry out an in-depth study of the working techniques.
The most important themes of Wang Lü's painting theory are the "true self" and the "true thing." One reason this topic has not received sufficient attention is that the original text was altered. ...This article aims to correct and reinterpret the text. After textual research and interpretation, Wang Lü's paintings and painting theory have been reevaluated. This article also responds to some difficult topics such as the relationship between "form" ... and "meaning" (...) and between "following" ... and "not following" ... the rules in Chinese painting theory.
Two real case studies, an oil painting on woven paper and a cycle of mural paintings, have been presented to validate the use of infrared reflection spectroscopy as suitable technique for the ...identification of bone black pigment. By the use of the sharp weak band at 2013 cm−1, it has been possible to distinguish animal carbon-based blacks by a noninvasive method. Finally, an attempt for an eventual assignment for the widely used sharp band at 2013 cm−1 is discussed.
Abstraction showed a case of distinction between art schools, in which reality was reduced using overlapping artistic elements and techniques to reach the artist's self-realization when abstracting ...the reality, and searching for implicit implications for the content of the artistic painting. Building a system of relations and formulations between abstracting the reality of the physical forms and employing the symbols and codes to convey a message to the recipient who interacts with what he watches through the processes of explanation, interpretation, and linking the particles and reveal the pure aesthetics for the artwork. Thus the current research deals with the following chapters and sections: the methodological framework consists of the research problem formulated in the following question: what are the ways of revealing the abstract art between the symbol and the code in the artistic painting? It also included the importance of the research and the need for it in addition to the research objective. It included the disclosure of the abstraction between the symbol and the code in the artistic painting in addition to the research limits and specification of terms. The theoretical framework dealt with the following sections: the first section: abstraction of the artistic painting. The second section: the symbol- the code in artistic terms. The research, at the end of the chapter, came up with the indicators of the theoretical framework. The research procedures included: research method: the researcher used the descriptive analytical approach. The research tool. Analysis unit. Research sample which was The Algerian artist (Muhammed Khuda), the Russian Artist Kandinsky and the Iraqi artist Sattar Luqman. Then the samples of the research have been analyzed. The results and the conclusions include: Abstraction revealed a connection and interaction in the construction of the existing relationship between abstraction and symbols and codes when manifesting the abstract reality and presenting it in a new vision and style. That has been clearly manifested in the samples (1, 2). Recommendations and suggestions have been set and at the end the most important Arabic sources and the translation used by the researcher have also been written down. Keywords: abstraction, symbol, painting
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