Thematische Bibliographien / Munich school of painting

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Auswahl der wissenschaftlichen Literatur zum Thema „Munich school of painting“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Munich school of painting"

Babunych, Yulia. "National identity and regional features of expressionism in the context of artistic and stylistic features of Ukrainian painting of the first third of the twentieth century." Bulletin of Lviv National Academy of Arts 48, no. 48 (2022): 4–10. http://dx.doi.org/10.37131/2524-0943-2022-48-1-1.

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The article considers the problem of national specificity of expressionism in Ukrainian painting of the first third of the XX century. In this regard, the works of leading representatives of this trend in Ukrainian avant-garde painting are analyzed. The issue of regional features of expressionism in the context of artistic and stylistic features of Ukrainian painting of the first third of the twentieth century is also raised. Based on the analysis of paintings, it was determined that Western Ukrainian artists often used the synthesis of secession (often borrowed while studying at the Krakiw or Munich academies of arts) and expressionism. At the same time, it was found that Central and Eastern Ukraine develop expressionism in combination with cubism, abstractionism, constructivism. The article also reveals the features of national identity, invariably present in the works of Ukrainian expressionists, extended to the powerful dynamics of lines, color contrasts, tonal vibrations. Thematic diversity of works by O. Novakivsky, S. Hordynsky, V. Lasovsky, V. Khmelyuk, O. Hryshchenko and others covers images of the people, various states of nature, still life, landscape, portrait. It is proved that Ukrainian representatives of expressionism, enriching their own painting culture and basic professional qualities in leading European art schools, developed the problem of color, combined the latest formal experiments on plastic form and the identity of national traditions.

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Meretskaya, Yulia. "Anton Ažbe’s pedagogical method’s influence on the stylistic development of Russian Empire painting in the late XIX — early XX century." Russian-Slovenian relations in the twentieth century, no. IV (2018): 220–43. http://dx.doi.org/10.31168/2618-8562.2018.4.3.2.

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Anton Ažbe, a Slovenian artist and teacher, at 1891 opened a famous private art school in Munich, which attracted lot of young artists from all world during fourteen years. Ažbe’s pedagogical method played an important role in the stylistic development of Eastern Europe and Russian art in the late XIX ― early XX century. Due to the successful combination of openness to new ideas and the presence of a strong technical base, Ažbe’s pedagogical method developed individual creative inclinations of students, who were able to realize their potential in different areas of Avant-garde. The objective of this article is to show on concrete examples the Ažbe’s pedagogical method’s infl uence on the art’ stylistic development of his students from the Russian Empire ― natives of various national painting schools.

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Matyunina, Daria Stanislavovna, Irina Nikolaevna Sizova, and Elizaveta Andreevna Khizhnyak. "Early Munich sketches by Mstislav Dobuzhinsky." Культура и искусство, no. 12 (December 2023): 211–20. http://dx.doi.org/10.7256/2454-0625.2023.12.69025.

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The article examines two studies of the early period of Mstislav Dobuzhinsky's work, relating to the time of his life and studies in Germany (Munich): "A Street in Munich" (circa 1899-1901) and "Workshop of the Anton Ashbe School" (1899). The author of the article, based on the artistic and critical literature devoted to Dobuzhinsky's work, as well as correspondence and memoirs of the artist and his contemporaries, examines the urban pastel landscape and interior sketch of the late 90s. In the context of the tasks that the artist set himself during his studies abroad at the schools of Anton Ashbe and Shimon Holloshi, as well as in line with the conceptual searches of the artist both in the early and mature periods of creativity. In the analysis of the works under consideration, the author of the article uses formal stylistic, descriptive methods, the study of the features of artistic manner, the nature of the figurative and plastic language of the works, emotional and aesthetic assessment. The author of the article discovers an unconditional coincidence of artistic images, mood and texture of the early sketches of the artist's Munich period with verbal descriptions of the atmosphere of Munich in the late 1890s and the school of Anton Ashbe and his method, left by the artist and his contemporaries in letters, memoirs, art-critical and historical notes. Summing up the analysis of the "Streets of Munich" and the "Workshop of the Anton Ashbe School" by Mstislav Dobuzhinsky, the author of the article concludes that the special, subtle poetic mood of the two works under consideration, a gloomy autumn landscape and a bright sunny interior sketch, representing the early stage of the evolution of the artistic manner of the master, thoughtfully and figuratively reflect the concept "quiet poetry", characteristic of the artist's mature graphics and paintings, consistently developed by him in his further work.

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Meretskaya, Yulia S. "ANTON AŽBE AND HIS SOUTH SLAVIC STUDENTS." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 300–307. http://dx.doi.org/10.37816/2073-9567-2020-58-300-307.

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In 1891, a private art school led by Anton Ažbe (1862–1905), a Slovenian artist and teacher, opened in Munich. A lot of artists from all over the world studied at the school during its operation. Anton Ažbe’s approach to teaching, which was based on the “Sphere Principle” and the “Crystallization of Color Principle”, influenced stylistic development of the European and Russian art in the late 19th – early 20th centuries. The distinctive feature of Ažbe’s method was a combination of thorough technical skill training and openness to new ideas, which would bring out students’ personal creative talents. The school's alumni were later engaged in quite different areas of style, including the avant-garde. This paper offers brief overviews of the artistic careers of Ažbe’s most famous South Slavic students — Slovenes, Serbs and Croats; it also discusses some aspects of their relationships with their teacher and analyzes the impact of Ažbe’s teaching method on their stylistic development. Thus, the oeuvre of the Slovenian Impressionists R. Jakopič, I. Grohar, M. Yama and M. Sternen, of the Croatian painters J. Račić and O. Hermann and of the Serbian artist N. Petrović have been consistently examined. The author concludes that the Ažbe’s South Slavic students consistently introduced elements of his painting principles into the art of Slovenia, Serbia and Croatia.

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Matyunina, Daria Stanislavovna, Maria Aleksandrovna Semyonova, and Alevtina Sakmarovna Habibova. "Between Kochel and Kalmunz. Early plein airs by Gabriele Munter at the school "Phalanx" by Vasily Kandinsky." Культура и искусство, no. 4 (April 2024): 14–29. http://dx.doi.org/10.7256/2454-0625.2024.4.70387.

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The subject of the study of the proposed article is the early plein-air works of the German expressionist artist Gabriele Munter, later a member of the Blue Horseman art association, a student and friend of Vasily Kandinsky. The authors of the article aim to review and introduce into scientific circulation a number of Munter's sketches created by her during summer trips to the plein air in 1902-1903 to the Alpine towns of Kochel and Kalmunz with the Munich art school "Phalanx", headed by Kandinsky. The article also examines the picturesque plein-air works by Kandinsky, created by him in the same years there, in Bavaria - mainly landscapes and sketches of figures in the landscape. The authors of the study see as their task to trace the influence of Kandinsky's artistic manner and his role as a teacher on the formation of a Munter painter. The research methodology includes formal stylistic, comparative methods of art criticism analysis, as well as a comprehensive historical and biographical approach. The relevance of the study is due to its scientific novelty: the authors of the article for the first time in Russian-language art history literature describe the pre-expressionist works of Munter during the period of joint plein-airs with Kandinsky, trace the formation of her artistic vision and picturesque manner, the influence of Kandinsky on her formation. The development of the impressionistic technique common to Munter and Kandinsky in the early 1900s, according to the authors of the article, is combined with individual searches for expressiveness of form and color. The first experiments of plein-air oil painting in a special "spatula technique" under the guidance of Kandinsky were accompanied by the successful search for Munter in the field of graphics, mastering the technique of printing color woodcuts. The authors of the article come to the conclusion that the formation of the original manner of Munter was equally influenced by both pictorial emancipation through sketching practice in oil, as well as their own experiences in drawing and engraving.

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Mishchenko, Iryna. "Nature and image: a city in the art of Chernivtsi of the 20th – the beginning of the 21st century." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 149–53. http://dx.doi.org/10.32461/2226-3209.2.2021.239994.

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The purpose of this article is to consider the peculiarities of the reflection of the city – its architecture and inhabitants – in the works of Chernivtsi artists of the 20th and early 21st century, to analyze the differences between their views on the reproduction of urban motifs. The methodology consists in the application of the historical-chronological method, art analysis, and generalization, comparative and systematic approach. The scientific novelty lies in the introduction into scientific circulation of works by artists of the specified time, in understanding the evolution in the reflection of the city in the works of authors with various artistic orientations. Conclusions. In the paintings and graphics of the 20th – 21st centuries, several options for solving urban landscapes can be defined, among which the most common is a careful reflection of existing architectural monuments. In the 19th century in European art, in particular in Impressionist painting, the desire to convey not only the appearance but above all the spirit of the city became noticeable, depicting the townspeople, emphasizing the bustle or poetry of squares and streets. At the turn of the 20th-21st centuries the artists are no longer limited to the usual fixation of what is seen, but try to create a conceptual image of the city, to tell a story through iconic images and symbols, reveal their own position in particular and to preserve the authenticity of an object or the city in general. Such a variety of approaches for creating an urban landscape is partly due to differences in preferences formed during studies in art institutions and is also characteristic for the art of Chernivtsi – a city where people of many nationalities with different cultural traditions have lived side by side for centuries. Ultimately, the artists who worked here in the 20th century were often graduates not only of Ukrainian schools or universities, but also of well-known European institutions, including Vienna, Munich, Florentine, Berlin, Kraków, or Bucharest academies. While in the second half of the 19th – early 20th century the city often appears as the sum of certain architectural structures in the works of artists of Bukovina and visiting masters (F. Emery, R. Bernt, J. Shubirs), in the second half of the 19th – first third of the 20th century the artists mostly try to recreate the dynamics of urban life instead, sometimes depicted with a touch of irony, using the grotesque in the image of the inhabitants (lithography and watercolors by F.-K. Knapp, O. Laske and G. Löwendal). Subsequently, we meet emphasized mood images, in which the author's subjective perception of a particular motive, which he seeks to reproduce in a work full of emotions, is important (L. Kopelman, G. Gorbaty). A peculiar historical retrospection is present in the exquisite graphics of O. Kryvoruchko and in the distilled-finished sheets of O. Lyubkivsky, and the lyrical watercolors and sketches of N. Yarmolchuk represent the non-festive side of the city center. In O. Litvinov's paintings Chernivtsi surprises with desolation and restraint, and in M. Rybachuk's paintings it is distinguished by an unexpected riot of colors. Therefore, each of the artists creates his own image of Chernivtsi, which landscapes often become only a stimulus for the author's imagination, allowing him to depict a completely individual sense of space and life of the city.

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Andreev, Alexander Alekseevich, and Anton Petrovich Ostroushko. "VOYNO-YASENETSKY Valentin Feliksovich (1877-1961). To the 140th of the birthday." Vestnik of Experimental and Clinical Surgery 10, no. 2 (2017): 174. http://dx.doi.org/10.18499/2070-478x-2017-10-2-174.

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Voyno-Yasenetsky Valentin Feliksovich (Archbishop Luka) Archbishop of Crimea and Simferopol, Russian and Soviet surgeon, the author of works in anesthesiology, doctor of medical Sciences (1916), Professor (1917); doctor of theology (1959), winner of the Stalin prize, first degree (1946). F. Voino-Yasenetsky was born 27 APR 1877. After graduating from high school and Kiev art school, studied painting in Munich. In 1898 he became a student of the medical faculty of Kiev University, after which he worked as a surgeon in Chita, the town of Ardatov in Simbirsk province S. Verkhniy Lyubazh, Kursk region, town of Fatezh, Moscow. In 1915 he published in Saint Petersburg the book "Regional anesthesia", and in 1916 he defended it as his thesis and received the degree of doctor of medicine. Until 1917 the doctor in some of the provincial hospitals of Russia, and later the chief doctor of Tashkent city hospital, Professor of Central Asian state University. In 1921 he was ordained to the diaconate, a week a priest in 1923 he was tonsured a monk and consecrated a Bishop with the name Luca, a week later arrested. In 1926 V. F. Voyno-Yasenetsky returned to Tashkent, but in 1930 he was arrested again and transported to Arkhangelsk. In 1934 he published a monograph "Sketches of purulent surgery". In 1937 he was arrested for the third time. Since 1940, works as a surgeon in the link in Bolshaya Murta, 110 kilometers from Krasnoyarsk. 1941 – consultant to all hospitals in the Krasnoyarsk territory and the chief surgeon of the hospital. In 1942 was elevated to the rank of Archbishop and appointed to the chair of Krasnoyarsk. In 1944, published the monograph "On the course of chronic empyema and hundreth" and "Late resections of infected gunshot wounds of the joints." In 1944, Archbishop Luke was headed by the Department of Tambov. In 1945, awarded the Patriarch Alexy I right to wear the diamond cross, wrote the book "Spirit, soul and body." In 1946 he headed the Crimean Department in Simferopol. In 1946 he was awarded the Stalin prize. In 1955, was blind. Died V. F. Voyno-Yasenetsky June 11, 1961, Archbishop of Crimea and Simferopol. Author of 55 scientific papers on surgery and anatomy, ten volumes of sermons. His most famous book "Sketches of purulent surgery". Awarded Pointscore (1916), the diamond cross from the Patriarch of all Russia (1944), medal "For valiant labor in the great Patriotic war" (1945), Stalin prize first degree (1944). Archbishop Luka monuments in Krasnoyarsk, Tambov, and Simferopol, is an honorary citizen of Pereslavl-Zalessky (posthumously). In 1995, St Luke canonized as locally venerated saints of the Crimean diocese, in 2000, the definition of the Council of bishops of the Russian Orthodox Church glorified as a Confessor (Saint) in the Assembly of new martyrs and Confessors of Russia. His relics are installed for worship at Holy Trinity Cathedral in Simferopol.

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Cohen-Willner, Saskia. "Een schilderij van Jacopo Palma il Giovane in een vroeg zeventiende-eeuwse Amsterdamse verzameling." Oud Holland - Quarterly for Dutch Art History 113, no. 4 (1999): 175–80. http://dx.doi.org/10.1163/187501799x00346.

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AbstractIn this article a drawing by Palma il Giovane, now owned by the Staatliche Graphische Sammlung in Munich, is identified as a study for a painting by the same artist. The present whereabouts of this painting, which early on in the 17th century was in the collection of the Amsterdam merchant and art-lover Hendrick van Os, are unknown. Identification of the drawing was facilitated by the lengthy description of this work in Karel van Mander's biography of Palma Giovane in the Italian Lives of his Schilderboeck (Haarlem 1604). Van Mander describes the painting as showing Venus, Juno and Minerva seated at a table, while the angry Discord has just thrown the apple of discord in their midst. His description of the Van Os painting conforms perfectly, almost down to the smallest detail, with the Munich drawing. Van Mander, during his entire stay in Italy, never visited Venice. For his notion of Venetian painting he relied largely on the information he received from visitors to Venice and its surroundings or on Venetian works he had seen elsewhere, either in other Italian cities or in the Netherlands. For his description of Palma Giovanc's artistic skills Van Mander could rely on his firsthand knowledge of the painting owned by Hendrick van Os.

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Rothstein, Gerhard. "Die „Munich International School"." Bildung und Erziehung 44, jg (1991): 307–14. http://dx.doi.org/10.7788/bue-1991-jg23.

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Miller, Bruce F. "Painting materials research in Munich from 1825 TO 1937." Studies in Conservation 43, sup1 (1998): 246–48. http://dx.doi.org/10.1179/sic.1998.43.supplement-1.246.

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Dissertationen zum Thema "Munich school of painting"

Dahlem, Andreas M. "The Wittelsbach Court in Munich : history and authority in the visual arts (1460-1508)." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/892/.

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The culture at the ducal court of Sigmund and Albrecht IV of Bavaria-Munich was characterised by a coexistence of traditional as well as novel concepts and interests, which were expressed in the dukes’ artistic, architectural and literary patronage. Apart from examining the orthodox means of aristocratic self-aggrandizement like jousting, clothes, decorative arts and precious, exotic objects, this thesis discusses ‘innovative’ tendencies like the forward-looking application of retrospective motifs, historicising styles as well as the dukes’ genealogy, the ducal government’s imprint on the territory and the aesthetic qualities of the landscape. The study of a selection of buildings and works of art with the methodologies of the stylistic analysis, iconology and social history emphasises the conceptual relations between the ducal court’s various cultural products, which were conceived as ensembles and complemented each other. The elucidation of their meanings to contemporaries and the patrons’ intentions is substantiated with statements in contemporary written sources like travel reports, chronicles and the ducal court’s literary commissions. The principal chapters explore three thematic strands that are idiosyncratic for the culture at the court of Sigmund and Albrecht IV between 1460 and 1508, because they were consistently realised in several buildings and works of art. The first chapter provides an overview of the history of Munich, the Duchy of Bavaria and the Wittelsbach dynasty. The second chapter explores the princely self-conception at the threshold of the Late Middle Ages and the Early Modern Era by considering the application of clothes, decorative arts, knightly skills, exotic animals, and monuments of the patrons’ erudition as means of social communication and differentiation. The third chapter considers the dukes’ awareness as well as ‘manipulation’ of their genealogy and history as a forward-looking means for legitimating and realising their political objectives. It also examines the symbolism and origins of historicising motifs in art and architecture like the Church of Our Lady’s bulbous domes that acted as markers of the ducal sepulchre. The fourth chapter scrutinizes the impact of the dukes’ government and artistic as well as architectural patronage on their territory. It also considers emergence of poly-focal panoramic views from the interiors of castle and palaces into the surrounding countryside by examining the origins of this phenomenon and the perception of the landscape’s aesthetic qualities.

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Haidar, Navina Najat. "The Kishangarh school of painting, c.1680-1850." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319068.

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Nallicheri, Renu Agawal. "Automotive painting--an economic and strategic analysis." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/12304.

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Olander, Marilyn V. "Painting the Voice: Weblogs and Writing Instruction in the High School Classroom." NSUWorks, 2007. http://nsuworks.nova.edu/gscis_etd/757.

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Writing is a complex cognitive skill, a technology for capturing speech whose forms and conventions began in the dawn of civilization and were in place and stable by the Middle Ages. Writing and reading are the foundation of literacy, fundamental to success in school and in the adult world. No comprehensive theory of composition guides the teaching of writing, although historically two approaches have been favored: writing as a skill acquired through the memorization and recognition of principles of grammar and usage, and more recently, writing as a process of recursive strategies of pi arming, drafting, revising, editing, and publishing. The National Council of Teachers of English supports the methodology of the writing process; the literature reports that teachers perceive it as an effective tool. However, national testing programs including the National Assessment of Educational Progress and the Scholastic Aptitude Test reveal that students' achievement in writing has not changed appreciably from the mid-level baselines established more than two decades ago. Reading and writing capabilities are closely associated with motivation. Many students function perfectly well, while others struggle. Students commonly regard writing as a chore, a closed loop between student and teacher to demonstrate what one knows, with the primary value being the correction of errors and a grade. Computer aided learning has become routine in schools. Within the past six years, teachers have begun exploring weblogs, a recent multimedia technology that draws on students' interest in computer related communication. Blogs enable [Tequent writing that is either spontaneous or planned and accessible by readers whether in a password-protected environment or open to the Internet. The study used a Web survey, telephone interviews with teachers, and observation of students' blog posts to explore the potential of blogs as a tool for teaching writing in the high school classroom. Educational blogging is as yet a new resource; a canon ofbes! Practices has yet to emerge. However, the study found that blogs hold particular promise for most young writers as an authentic, interactive domain for practicing to learn and learning to practice effective writing and its accompanying skills, reading and thinking.

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Fang, Hui. "Sesshu Toyo's Selective Assimilation of Ming Chinese Painting Elements." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12984.

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Sesshu Toyo (1420-1506) was a preeminent Japanese monk painter who journeyed to China in the mid-fifteenth century. This thesis focuses on a diptych of landscape paintings by Sesshu Toyo, Autumn and Winter Landscapes (Shutou sansui zu), to analyze how Sesshu; selectively synthesized traditions of Chinese painting tradition that had already been established in Japan and the art conventions he discovered in fifteenth-century China. To contextualize this topic, this thesis explores the revival of the Southern Song (1127-1279) painting tradition which had impacts on both contemporary Chinese painters and landscape painters in Japan during the fifteenth century. I also analyze the culture of Japanese Zen monastics and their art-related activities and the transformation of Southern Song painting traditions within China in the early Ming period (later half of the fourteenth century-first half of the fifteenth century).

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Tunstall, Lucy Suzannah. "Vision and visual art in Sylvia Plath's 'Ariel' and last poems." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/24401.

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This dissertation is concerned with Sylvia Plath's late works. Engaging with critical discussion of what constitutes the corpus of Ariel, I show that an appreciation of the editorial history reveals the beginning of a third book (the last poems), and opens up those difficult texts to fresh enquiry. Recent work in Plath studies has focused on visual art. Kathleen Connors and Sally Bayley's Eye Rhymes examines Plath’s own artwork in ‘an attempt to answer the question, How did Plath arrive at Ariel? (1) I contribute to that discussion, but also ask the questions, How did Plath leave Ariel behind and arrive at the even more remarkable last poems, and how did visual art enable those journeys? I argue that Ariel’s characteristically lucid style is informed by the dismantling of depth perspective in Post-Impressionist painting, and by the colour theory and pedagogy of the Bauhaus teachers. My work is underpinned by an appreciation of Plath’s unique cultural moment in mid-century East Coast America. I show how Plath’s knowledge of the theories, practice and iconic images of visual art, from the old masters to the Post-Impressionists, offered new possibilities for stylistic development. Working with archival materials including annotated works from Plath’s personal library and drafts of her poems, as well as published material, I examine the synthesis of visual and literary influences. Demonstrating specific textual relations between Plath and the work of Emily Dickinson, T. S. Eliot and W. B. Yeats, as well as other poets, I show that Plath’s visual poetics combine influences from the modern poets with her New Critical training and with painting and sculpture. I offer new readings of rarely discussed poems, such as ‘Totem’, ‘The Munich Mannequins’ and ‘Child’, as well as fresh insights into the well known works, ‘Tulips’, ‘The Moon and the Yew Tree’, ‘Fever 103º’, and ‘Edge’.

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Feijoo, Manuel. "Vertical School of Art." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23104.

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Vertical Buildings (skyscrapers) challenge our perception of space, our perception of scale, our idea of movement, they challenge the way we live. Currently urban cities are becoming more and more dense. Lack of space is a big issue and now buildings are being torn down and are replaced by skyscrapers. And these new skyscrapers are being redefined to house a living and working environment.

Cubism challenges our perception of depth, our tactile sense, our ideas of proportion. Cubism, as a 20th century movement, was in continuous exploration of the senses. Cubists challenged the conception of art, and consequently shaped and influenced many social movements of their time.

Like any human expression, art and architecture are in a continuous evolution. Both share the pursuit of perfection, the exploration of spatial, sensorial, and emotional feelings. Both are a part of us.

With all of these ideas in mind, I started to investigate and explore the idea of a skyscraper that would house an art school. Where the building and its inhabitants will contribute to its surroundings of the school.

There is the challenge of programing the art school into a vertical configuration and at the same time, this challenge offers the possibility of discovery for new organization of the school as a vertical world.
Master of Architecture

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Murphy, Michele P. "Colour choice and exploratory behaviour in the easel painting of nursery school children /." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsm978.pdf.

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Wang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.

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Wilson, Jeffrey Allen. "Conceptual relations of architecture, painting, color, and education and their application in an elementary school." Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53430.

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If the theories of Piaget (stages of cognitive development) and Bruner (anything can be taught to anyone as long as it is taught in their language) are combined and applied to an elementary school the resulting conclusion is very quickly hands-on learning. Or, more simply, elementary-aged children understand their world through tangible experiences, so teach them through tangible experiences. A child's early memory code is formed by concrete experiences (combinations of the 5 senses), but these experiences become the building blocks for their later abstract cognitive thought patterns. This theory of education is widely applied from the standpoint of teach (hands on lessons, manipulative, etc.), but is a low if not nonexistent priority in constructing the environments in our schools. The experiential aspects of our schools should not only provide for a purely more pleasing environment, but should also allow for strong behavioral imprinting experiences that would result in memory niches -- the foundation for later abstract cognitive thought patterns. This diagram shows the progression of memory coding through these stages and how the resulting thoughts would be accessed.
Master of Architecture

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Bücher zum Thema "Munich school of painting"

1938-, Lenz Christian, Jevtović Jevta, Narodni muzej--Beograd, and Bayerische Staatsgemäldesammlungen, eds. Minhenska škola 1850-1900: Izložba slika iz Bavarskih državnih zbirki slika i drugih muzeja = Münchner Schule 1850-1900 : Gemälde aus dem Bestand der Bayerischen Staatsgemäldesammlungen und anderer Museen. Narodni muzej, 1988.

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Ingeborg, Lange Marit, Ljøgodt Knut, and Nasjonalgalleriet (Norway), eds. Svermeri og virkelighet: München i norsk maleri. Nasjonalgalleriet, 2002.

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Hohenkarpfen, Kunstmuseum, and Kunststiftung Hohenkarpfen (Kunstverein Schwarzwald-Baar-Heuberg), eds. Vor den Alpen: Malerei der Münchner Schule. Beuroner Kunstverlag, 2008.

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Dobrianova-Bauer, Snegi. Auf den Spuren der Münchner Schule: Nicola Michailow und die neue bulgarische Malerei, 1878-1944. P. Lang, 1999.

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Leibl, Wilhelm. Rein malerisch: Wilhelm Leibl und sein Kreis. Michael Imhof Verlag, 2013.

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Bertuleit, Sigrid, 1957- editor, author, ed. Künstler sehen Bayern - Bayern lässt staunen. Museum Georg Schäfer, 2013.

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Claudia, Valter, and Museum Georg Schäfer, eds. Natur als Garten, Barbizons Folgen: Frankreichs Maler des Waldes von Fontainebleau und die Münchner Landschaftsmalerei. Museum Georg Schäfer, 2004.

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Wojciech, Bałus, Ciciora Barbara, Muzeum Narodowe w. Krakowie, and Museen der Stadt Bamberg, eds. Die Meister Matejkos, Grottgers der Gebrüder Gierymski: Münchner Geschichtsmalerei des 19. Jahrhunderts : Ausstellung im Nationalmuseum in Krakau März-Juni 2007 und den Museen der Stadt Bamberg Juni-September 2007. Nationalmuseum in Krakau, 2007.

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Gisela, Hopp, ed. Impressionisten, Post-Impressionisten, und Symbolisten: Ausländische Künstler : vollständiger Katalog. Hirmer, 1990.

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Buchteile zum Thema "Munich school of painting"

Edwards, Jean, Helen Caldwell, and Rebecca Heaton. "Painting." In Art in the Primary School, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429296208-8.

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Eitner, Lorenz. "David and His School." In An Outline of 19th Century European Painting. Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-2.

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Gehlawat, Monika. "“An Opposite Force’s Breath”: Medium-Boundedness, Lyric Poetry, and Painting in Frank O’Hara." In New York School Collaborations. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137280572_8.

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Sánchez-Guillén, Ariel, and Alejandra Berriel-Benvenuto. "National School of Fine Art. University Extension and Mural Painting." In Cultural and Creative Mural Spaces. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53106-5_6.

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Trümper, Joachim. "The International Max Planck Research School (IMPRS) for Astrophysics at Garching-Munich." In Organizations and Strategies in Astronomy. Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-010-0606-4_5.

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Zhang, Yiran, Dapeng Liu, and Zhengyu Zhu. "Design of Customized Cultural and Creative Service System of Shanghai School Painting." In Culture and Computing. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-34732-0_26.

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Kaming, Peter F., Zofar S. C. Sihotang, Ferianto Rahajo, and Necta P. Pramesti. "Predicting Service Life of External Wall Painting for the School Buildings in Indonesia." In Critical Thinking in the Sustainable Rehabilitation and Risk Management of the Built Environment. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-61118-7_25.

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Wallach, Alan. "Aestheticizing Tendencies in Hudson River School Landscape Painting at the Beginning of the Gilded Age." In New York: Art and Cultural Capital of the Gilded Age. Routledge, 2018. http://dx.doi.org/10.4324/9781351027588-4.

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Shabanov, Andrey. "The European and the National in Imperial Historiography and Periodization of the Russian School of Painting *." In Periodization in the Art Historiographies of Central and Eastern Europe. Routledge, 2022. http://dx.doi.org/10.4324/9781003178415-14.

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Cohen, Richard I., and Mirjam Rajner. "Kraków: Hirszenberg’s First Steps as an Artist." In Samuel Hirszenberg, 1865-1908. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781789621938.003.0003.

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This chapter follows Samuel Hirszenberg's move from Łódź to Kraków. When Hirszenberg arrived in Kraków, the city was gaining a certain economic momentum, but it was still in the shadow of the economic dynamism that marked the industrial mobility of Łódź. The chapter narrates how Hirszenberg registered at the Kraków School of Fine Arts in 1881. The Kraków school had a demanding programme that included drawing and painting classes and theoretical subject. In trying to delineate Hirszenberg's development during these early days in Kraków, the chapter turns to his student sketchbook, presently in the prints and drawings department of the Tel Aviv Museum of Art. This singular document provides remarkable insight into his life in this period and later during his studies in Munich. It provides an extremely rare personal record of his artistic explorations, which reverberated in his creations years later. Guided by his sketchbook, the chapter demonstrates the cultural and artistic turns the life of the 17-year-old Hirszenberg took on his path from Łódź to Munich.

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Konferenzberichte zum Thema "Munich school of painting"

Seeber, B. U. "Echoes from the Archives of the Munich School of Psychoacoustics." In 10th Convention of the European Acoustics Association Forum Acusticum 2023. European Acoustics Association, 2022. http://dx.doi.org/10.61782/fa.2023.1135.

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Halim, Rina Savista, Phillip Pan, Kuo-Wei Chen, Chih-Yuan Yao, and Tong-Yee Lee. "Non-photorealistic rendering of yangzhou school painting for koi animation." In SA '18: SIGGRAPH Asia 2018. ACM, 2018. http://dx.doi.org/10.1145/3283289.3283341.

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Ho, Racelar, Sarah Vollmer, and Xiaolong Zheng. "Subverting Syntax: Experimental narratives from the Post-Lingnan School of Painting." In Proceedings of EVA London 2024. BCS Learning & Development, 2024. http://dx.doi.org/10.14236/ewic/eva2024.14.

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Loza, N. А., and Z. D. Borisyuk. "Picturesqueness as a quality of the Odessa school of painting and the Odessa school of tapestry." In THE INFLUENCE OF CULTURE AND ART ON THE VALUE ORIENTATIONS OF CIVILIZATION IN WAR AND POST-WAR TIMES. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-237-1-27.

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Wang, Decheng, and Yan Chen. "Research on the Algorithm of Art Style Transfer of Xin'an Painting School." In 2021 IEEE International Conference on Artificial Intelligence and Industrial Design (AIID). IEEE, 2021. http://dx.doi.org/10.1109/aiid51893.2021.9456474.

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Yeilei Chen and Yuhui Gong. "Notice of Retraction: Inheriting and development of modern Xieyi school flower-bird painting." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. E-Business, Creative Design, Manufacturing. (CAID&CD 2009). IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375247.

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Khmyrova-Pruel, Irina, Aleksey Smirnov, and Olga Bezzubova. "Modes of Leadership in Soviet School: Exploring the Soviet Painting of the Mid-20th Century." In 6th International Conference on Social, economic, and academic leadership (ICSEAL-6-2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200526.005.

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Taswadi and Heri Santosa. "Making Mural Painting With Collaboration of Students and Labschool Elementary School Students in Universitas Pendidikan Indonesia." In 3rd International Conference on Arts and Design Education (ICADE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.042.

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Kudryavtseva, T. I. "THE PAINTING METHOD ON THE EXAMPLE OF THE WORK BY THE ENGLISH SCHOOL ARTISTS JOHN CONSTABLE AND JOSEPH TURNER." In ЦВЕТ В ПРОСТРАНСТВЕННЫХ ИСКУССТВАХ И ДИЗАЙНЕ. Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868850_206.

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Dârlă (Ionescu), Ileana Constanţa. "Evaluation of Learning in the Period of Early Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/12.

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At all levels of education, learning assessment is generally considered to be an essential part of teachers' work. For early childhood educators, ie those who work with children from birth to age six, there are special considerations that stem from the characteristics of those trained and the nature of early learning. This paper reviews research on the formative assessment of early learning and development. In this way, important theoretical constructs related to early learning are explored and research on key aspects of early childhood learning is synthesized. We discuss the methods that are most useful for painting a richer picture of early learning and development. Some of the challenges inherent in formative assessment in early childhood are also highlighted and discussed.

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Berichte der Organisationen zum Thema "Munich school of painting"

Perron, E. Figure painting in the high school; experiments and recommendations. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.690.

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Li, Jinde, and Danni Meng. Effect of Painting Therapy on Mental Health of Middle School Students:A Meta-analysis of Randomized Controlled Trials. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, 2022. http://dx.doi.org/10.37766/inplasy2022.6.0069.

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Fenton, Virginia. Cubist painting related to the culture from which it came and its validity today in the high school curriculum. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.657.

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