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1

СТАНОВЛЕННЯ ХУДОЖНЬОЇ-ПРОМИСЛОВОЇ ОСВІТИ ГАЛИЧИНИ (КІНЕЦЬ ХІХ – ПЕРША ПОЛОВИНА ХХ СТОЛІТТЯ)

100%
Синишин Л.
Педагогічні науки: теорія, історія, інноваційні технології
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2014
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issue 10(44)
146-153
EN
The article highlights the features of formation of Art and Industry Education in Galicia in chronological limits of the late nineteenth – early twentieth century. The author determined basic directions of professional training for artistic and industrial areas, such as: wood processing, decoration of wooden products, weaving, carpet weaving and ceramics. The results of the study revealed cross-cultural relationships that were embodied in the development of the folk arts, on the other hand, multiplying its best examples of European fine arts. The article raised speculation that the development of art education of Galicia influenced the European art traditions. Folk Art of the land enriched with sources of classical European art and also influenced its development. To understand the mutual influences of cultures for the development of art education of Galicia it is important to assess the contribution of members of the European Union (that was the part of the Austro-Hungarian Empire) in training for artistic and industrial schools and promotion of Galician art in Europe. The development of industry and technology has led to demands in the labor market for skilled workers of artistic and industrial areas. The territorial boundaries of Galicia, favorable geographical location, age tradition of folk culture are crucial regarding growth of the art schools. It should be noted that this region was famous of folk artists crafts, artisans. Professional family traditions passed down from generation to generation. These factors are used in network planning of art schools, so they were thepioneers of activities in the centers of traditional culture. It was found out the influence of European public opinion on the development of craft and art schools. Society, uniting people for cultural, professional orientation promoted the art education, promotion of folk art as in Galicia and abroad. The trends of folk art in Galicia and its entry into the European art space are revealed. The conditions that determined the progress of art and industrial education of Galician region: socio-economic (rapid development of industry, technology, intercultural communication); labor market needs in trained specialists in the art and the industrial sector; availability of teaching staff with artistic and industrial education are overviewed.
2

ОСОБЛИВОСТІ САМОРЕАЛІЗАЦІЇ ТВОРЧОГО ПОТЕНЦІАЛУ ХУДОЖНЬО ОБДАРОВАНИХ УЧНІВ

86%
Гулей О., Никифоров А.
Педагогічні науки: теорія, історія, інноваційні технології
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2015
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issue 9(53)
227-235
EN
The author’s main efforts are focused on processing and analysis of research problems: identification of creatively gifted children, identification of the specific characteristics of gifted students of art, stipulating the need to create appropriate learning conditions for innovative activity of artistically gifted students. In addition, the author emphasizes the exceptional role of the fine arts teacher in identifying a gifted child and focusing his/her abilities for creative self-realization not only in art education system but also for the entire creative life. The purpose of research is the analysis of the major psychological and pedagogical views of modern scholars on the issue of gifted students to identify the specific features of educational work with artistically gifted students in the context of self-realization of their creative potential. The study used the following methods: empirical (work – the study of the relevant literature, documents and performance of gifted students, comprehensive – study and compilation of teaching experience); theoretical (accumulation of facts and interpretation and synthesis of collected factual material). Therefore, we can summarize briefly that talent is the main feature of creative personality as an artist for the student, the student artist and for the Honored Artist of artist that allows self-creativity of the artist. The study reveals a number of specific features to work with artistically gifted students in the context of creating the conditions for self-realization of their creative abilities, such as: an artistically gifted child should not adjust the content of education, breaking and changing him/herself; a teacher should provide the child with appropriate special professional training, have a high level of intellectual development, the ability to transfer material costs, have the ability to support, protect, assist; possess organizational skills, stimulate creativity of a child, be communicative. The study does not cover all the aspects of the outlined problems, so promising directions of further research consider detailed study of works of art education teachers to find the ways to improve the educational work of artistically gifted students.
3
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Gotowość zawodowa absolwentów średnich szkół plastycznych w odniesieniu do wymagań stawianych przez pracodawców w ofertach pracy – raport z badań

86%
STRZECHA J.
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2012
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vol. 3
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issue 1
129-135
PL
Celem niniejszego opracowania jest dokonanie diagnozy i opracowanie raportu dotyczącego zgodności przygotowania zawodowego w średnich szkołach plastycznych z oczekiwaniami przyszłych pracodawców. Szczegółowe problemy podjęte w badaniach wyraŜone zostały w na–stępujących pytaniach: - Z jakich programów komputerowych korzystają uczniowie w średnich szkołach plastycznych? - Jakie programy graficzne znają uczniowie szkół plastycznych i jak oceniają swoje umiejętności w posługiwaniu się tymi programami? - Czy absolwenci szkół plastycznych zostali wyposaŜeni w wiedzę i umiejętności zgodne z oczekiwaniem przyszłych pracodawców?
EN
The purpose of the present study is to make the diagnosis and to draw up the report on accordance of the vocational education received at art schools to expectations of future employers. Following questions express extensive problems, taken in survey research: - What computer programmes are used at secondary art schools? - What graphic design programmes are known by students of secondary art school and how they assess their level of competence required for usage of those programmes? - Are the graduates of secondary art school accoutred with knowledge and qualities accordant with the expectations of their future employers?
4
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Muzikoterapia hudba ako rapeuticky prostriedok

58%
Akimjak A.
Student niepełnosprawny. Szkice i rozprawy
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2019
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issue 19(12)
197-209
EN
Music teaching is a compulsory subject in the curriculum of a basic artschool. For most pupils, however, this subject is not attractive. It is up to the teacher toraise the interest in pupils by appropriate didactic procedures and to point out the necessityof musical learning to develop musical abilities of the pupils.
PL
Výchovno-vzdelávací proces prešiel v 20. storočí zásadnými zmenami a vývojom. Už pri letmom pohľade na množstvo alternatív didaktických postu-pov a vyučovacích metód vidíme, že žiaden akokoľvek prepracovaný a dokonalý systém nie je univerzálny a jedine správny. Hudba a predmet hudobná náuka je pre žiaka v mladšom školskom veku predovšetkým hrou, v ktorej môže uplatňovať svoj poznávací a objaviteľský inštinkt. Vyjadruje ňou svoje pocity, zážitky, svoj vnútorný svet a spätne hudba obohacuje jeho osobnosť. Pomáha mu vytvárať životnú energiu a pocit radosti. Hudobné hry sú preto veľmi odporúčanou činnosťou. Môžeme ich realizovať v akejkoľvek etape vy-učovacej hodiny i v rámci všetkých hudobných činností.
5
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BAUHAUS – poszukiwanie „całościowego dzieła” a społeczna misja sztuki

51%
Migdał A. M.
Eruditio et Ars
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2022
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vol. 4
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issue 1
23-40
EN
Bauhaus – what exactly is it about? The new type of art school, founded in 1919 in the city of Weimar by German architect Walter Gropius, its objective was to reimagine the material world through the unity of all the arts. The Bauhaus combined elements of both fine arts and crafts, by means of its appropriate education, under one roof. The teaching process started with a preliminary course introducing the beginners to the study of materials, color theory, and formal relationships in preparation for more specialized studies. This initial course was often taught by visual artists, including Johannes Itten, László Moholy-Nagy, Josef Albers, Wassily Kandinsky, and several others. The workshops included metalworking, weaving, ceramics, carpentry, graphic printing, advertising, photography, glass and wall painting, stone and wood sculpture, and theatre. Gropius explained his vision for a union of crafts, art, and technology in the „Programm des Staatlichen Bauhauses Weimar”. In 1938, the Museum of Modern Art in New York (MoMA) launched its first exhibition of the German avant-garde movement, entitled „The Bauhaus 1919–1928”. The Bauhaus experienced its heyday in Dessau, where the “State Bauhaus” became a „School of Design”. After the dissolution of the Bauhaus in Berlin, in 1933, many those who taught and studied over there emigrated contributing to the dissemination of the movement’s activities. The Harvard Art Museums hold one of the first and largest collections relating to the Bauhaus, the 20th century’s most influential school of art and design. Building is nothing but organization: social, technical, economical, psychological organization. Hannes Meyer
PL
Bauhaus – o co dokładnie chodzi? Wraz z powstaniem nowego typu szkoły artystycznej, stworzonej w Weimarze pod okiem niemieckiego architekta Waltera Gropiusa, rozwija się tendencja zmierzająca w kierunku przeobrażenia dotychczasowej materialnej przestrzeni poprzez zjednoczenie wszystkich sztuk. Tym samym Bauhaus połączył pod jednym dachem sztuki piękne i rzemiosło drogą stosownej edukacji artystycznej. Procesowi kształcenia, wprowadzającego nowicjuszy do materiałoznawstwa, teorii koloru i estetyki form, odpowiadały warsztaty ukierunkowane na metaloplastykę, tkactwo, ceramikę, stolarstwo, druk graficzny, reklamę, fotografię, szkło artystyczne i malarstwo ścienne, rzeźbę w kamieniu oraz drewnie, jak i teatr. Już w roku 1938 nowojorska MoMA zorganizowała pierwszą wystawę tego awangardowego ruchu. Śledząc bauhausowski rozkwit w Dessau, gdzie państwową szkołę o profilu artystyczno-rzemieślniczym przekształcono w szkołę projektowania, aż do rozwiązania berlińskiej instytucji w roku 1933, należy zwrócić uwagę na siłę jej społeczno-kulturowego oddziaływania jako najbardziej wpływowej dwudziestowiecznej otwartej twórczo instytucji edukacyjnej o oryginalnym programie kształcenia. Budownictwo to nic innego jak organizacja: społeczna, techniczna, ekonomiczna, psychologiczna organizacja. Hannes Meyer
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