Tài liệu miễn phí Mỹ thuật
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Một số tác giả, tác phẩm của hội họa cách mạng Việt Nam
Trong một nền văn hóa mà chỉ một nghệ thuật văn chương giữ địa vị độc tôn, bản thân nghệ thuật ấy không phát triển được phong phú và muôn màu muôn sắc do thiếu cọ sát, tương tác, thi sức với các nghệ thuật khác.
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Câu hỏi và đáp án đồ án hóa công
1.Trình bày hoạt động của dây truyền sản xuất ? 2. Vai trò thùng cao vị ? Có thể thay thùng cao vị bằng bơm đc ko ? 3. Vai trò của thiết bị gia nhiệt hỗn hợp đầu ? Có cần thiết pải dùng ko? 4. Một số lỗi sai trên dây truyền sản xuất :Khi tháo sản phẩm khỏi đấy tháp, lấy hỗn hợp đỉnh khỏi thiết bbị ngưng tụ, chiều đi của các lưu thể trong thiết bị gia nhiệt.... 5. Nguyên tắc chưng luyện ? Tại sao lại tách riêng các cấu tử khỏi hỗn hợp bằng chưng luyện ?...
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estudio diacranico y sincranico del objeto indirecto en el espaaol peninsular y de amarica
PressPublished:2007Subjects:Language, linguisticsAbstract:This work is a contribution to the understanding of some diachronic and synchronic aspects of the grammatical relation Indirect Object hitherto not studied: (i) grammaticalization (from the 12th to the 21st century) of cross reference –double representation– of indirect obj......
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Giáo trình Giới thiệu mỹ thuật vẽ tranh
Giới thiệu Mĩ thuật & Vẽ tranh là học phần III của chương trình giảng dạy mĩ thuật ở hệ CĐSP tiểu học, tiếp sau học phần vẽ theo mẫu & vẽ trang trí. Tài liệu được biên soạn dựa trên giáo trình Mĩ thuật và PPDH tập 1 của BGD – ĐT xuất bản năm 1998 kết hợp tham khảo một số tài liệu khác có liên quan đến Mĩ thuật và giảng dạy Mĩ thuật cùng thực tế giảng dạy của giảng viên.
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NORBERT JOPEK DURER AND SCULPTURE
The pure silhouette of the piece, however, is only a part of the original decorative scheme. Italian armorers of the fifteenth century had learned to combine simplicity of line with pro- tective features that could hardly be improved upon; hence the energies of artists were increas- ingly expended upon ornamentation and enrich- ment. This helmet was not only a protection against the weapons of an enemy, but at...
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3d Scanning of Archaeological Sculpture
The barbute is an exclusively Italian form that developed from the basinet, as may be seen in the drawings on the following pages. The basi- net derived in turn from the conical Norman casque, which in turn had its prototype in bar- barian and Near Eastern examples. The design of medieval armor evolved out of combat experi- ence; as the wearer suffered injuries in unpro- tected areas, additions and modifications were made in his armor,...
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Sculpture of the Twentieth Century
The prototype of the barbute may be seen in a basinet from Chalcis, dating from 4I 0 to I440, portrayed in the drawings. It retains vervelles along the edges for attaching a camail. Minus the camail, and with a rounded bowl to conform with the contour of the head, this helmet would qualify as a barbute. In fact, the transition from basinet to barbute is largely a change in propor- tion. Some basinets were so tall that they rested on ...
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Enhancing Global Education: Making Steel Connection Sculpture Available Online to Students in Developing Countries
The form of the barbute was in one other im- portant sense not a new one. The close-fitting barbute, with its narrow opening for the eyes and nose, very much resembles the Corinthian helmet of the Greeks (Figure 8). The barbute, of course, had an independent origin, and this is simply a case of recurrence of type-forged in ...
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The Male Figure in Early Cycladic Sculpture
In almost all the civil engineering programs in the United States, a student would be required to take at least one structural design course. Steel and reinforced concrete design are the two primary courses that are offered by essentially every civil engineering program. Students who take a structural design course have already taken courses in statics, mechanics of materials, and structural analysis. Moreover, the steel design course is usually taken by a student during the third or fourth year of his/her 4-year program of study, and could be the student’s first introduction to a formal design course....
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The Kalkar School of Carving: Attribution of a Wooden Polychromed Sculpture
The lack of emphasis (about 10 % of the course) in connection design within a course is by no means a reflection of the significance of connections to the integrity of a structure. Instead, it is due to the time constraint in a semester and the common belief in the past that connections are standardized details that should be left to the fabricators. However, the connections are the glue that holds a structure together. Historically, connection failures have contributed to many structural failures, for example, the Hartford Civic Center in 1977 [1], the Hyatt Regency Hotel in...
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POLYCHROMY IN GREEK SCULPTURE
Steel connections have always been designed as 2-dimensional elements despite the fact that their load bearing behavior is 3-dimensional. For students who are learning design for the first time and have no prior experience or knowledge of steel connection designs from summer internships, it would be difficult for them to visualize a three-dimensional connector. For example, when two beams (Girder B3 and Beam 3A) are oriented normal to each other as illustrated in Figure 1, we often use two angle sections to connect them. One of the angles will be in the front face of beam 3A...
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Sculpture in Steel: A MILANESE RENAISSANCE BARBUTE
The helmet Douglass wanted so badly has now been presented to the Museum by Mrs. Douglass, in memory of her husband. It is a masterpiece of Renaissance metalwork, a fine example of formal beauty resulting from functional efficiency. For although it was designed with an eye both to beauty and utility, the principal aim of the ar- morer was to protect the wearer from injury. The contour follows the lines of the head, protecting the cranium and the sides of the face and neck, and...
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Chinese Buddhist Sculpture
The influence of Greek sculptural ideals and Greek clothing are relatively well known, as is the connection between the aesthetic and Pre-Raphaelite artists and dress reform (Newton; Cunningham). The exhibition The Cult of Beauty. The Aesthetic Movement 1869–1900 at the Victoria and Albert Museum in 2011 made these connections through a display of clothing, dress manuals and other items. The Cult of Beauty also illustrated the influence of Greek clothing on contemporary art and dress reform through the display of two ‘Tanagra’ terracotta figurines, on loan from the British Museum, as part of the section on “Grecian Ideals.” ...
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The Sculpture of Greater India
Kate Flint points to “the development of the visualisation of experience” that continues through the nineteenth century; linking this experience to the “more permanent display of material” in museums and the “growing number of art exhibitions” (3). This development of a “visualisation of experience” is crucial for understanding the reception of classical antiquity during this period. The Greek court at the Crystal Palace in Sydenham, along with the other Fine Arts Courts, is a good example of the desire to make the vision of antiquity corporeal and create an arena through which the past could be physically experienced and...
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VISUALIZING LABOR IN AMERICAN SCULPTURE: MONUMENTS, MANLINESS, AND THE WORK ETHIC, 1880-1935
As this article will argue, these archaeological discoveries and the subsequent displays arising from them provided a new visual and material culture of archaeology that inspired a British re-fashioning both in clothing and identity. The work of imagining the impact of classical Greek dress – on the body, health, and national fitness – provoked new ways of considering British civilisation both in relation to the ancient world and to existing cultures of nationhood in the 1880s. In the dress reform movement, and in the use of costume for stage drama a new creative fashioning of Britishness (and especially female...
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GREEK SCULPTURE: FUNCTION, MATERIALS, AND TECHNIQUES IN THE ARCHAIC AND CLASSICAL PERIODS
There was also a link from dress reform to physical fitness and a greater emphasis on health. Writers on dress and hygiene reform placed emphasis on the need for women to be fit and active for their roles as future mothers of a healthy nation and race of people. Pamela Gilbert argues in The Citizen’s Body that the discourse of hygienic and sanitary reform was articulated as a form of control and was linked to greater socio-political questions: The management of the social body through public medicine and discourses of health became the principal discourse with which to...
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TELEVISION, FURNITURE, AND SCULPTURE: THE ROOM WITH THE AMERICAN VIEW
Charles Kingsley makes this point in his 1873 lecture “Nausicaa in London: Or, the Lower Education of Woman,” in which he quotes the passage in The Odyssey in which Nausicaa plays ball with her female companions on the beach(62). J. Moyr Smith makes this explicit with regard to Greek clothing in his book Ancient Greek Female Costume in 1882: “Though more fully clad in most parts of Greece than in Sparta, the costume of the young girls and women was such as allowed the body to develop its natural beauty, and permitted a graceful freedom of motion” (17)....
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LATE ANTIQUE SCULPTURE IN EGYPT: ORIGINALS AND FORGERIES
The transparency of the body beneath the drapery is a clear reference point to the female reclining figures from the Parthenon pediment sculptures. This is obvious in Albert Moore’s Beads (1875), which depicts two young women reclining asleep in different positions on a soft fabric bench with their legs, breasts, nipples and small folds of their stomachs clearly visible beneath their white diaphanous Greek clothes. Robyn Asleson points out that “the snaking movement of the drapery exaggerates the curves of the anatomy which is clearly seen beneath the transparent gauze fabric” (133). Similarly G. F. Watts’ Ariadne in...
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Alexander Calder-Inspired Wire Sculpture
The Parthenon sculptures associated with the classical Greek sculptor Pheidias were increasingly influential and the influx of classical art into Britain through the mid nineteenth century, such as the sculptures from Nereid Monument in Lycia and the Mausoleum of Halicarnassus in Bodrum, only served to emphasise the importance attributed to Greek art (Challis, From the Harpy Tomb). The increased use of the Pheidian figural type in art works, classical history subjects and the depiction of everyday life in Greek and Roman antiquity was part of the classical revival of art that took place in Britain from the 1860s until...
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Name that Sculpture
The depiction by Moore, Leighton and other artists of languorous women in Greek robes emulating classical sculpture placed greater emphasis on the female body as well as the male for the importance of the physical health of the nation. By the 1880s these artists and their interests were so well known as to be regularly parodied. For example, a cartoon “Art in Olympus: Or the Academia of the Gods,” by Edward Linley Sambourne, in Punch in 1886 depicts Leighton as Zeus in the centre of Olympus, with caricatures of various artists taking the guise of different gods around...
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THE SCULPTURES - SYMBOLISM AND FUNCTION
While Greek forms in art reached new heights of popularity in the late 1860s and 70s, dress reformers were also becoming more vocal. Again, dress reform was not an entirely new crusade, for example the doctor Andrew Coombes wrote treatises on it as early as 1834. By the late 1860s the large domed skirts of the crinoline were out of fashion and instead the so-called ‘S-shape’ or Grecian bend became fashionable. (The ‘S-Shape’ was later used to describe the shape of the Edwardian corset in the 1900s). ...
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THE ROMANESQUE SCULPTURE OF MOISSAC
This shape thrust the breasts out to the front and pushed the buttocks out at the back with the ideas of transforming the wearer into “an unctuous version of the Winged Victory of Samothrace” (Newton 37). The illustrator Frederick Barnard published a cartoon in 1869 “‘Oh Stay!’ or, Graces versus Laces,” unfavourably comparing the natural curves and waistlines of the Greek style Graces and Venus peering into a corset boutique which illustrated the ridiculous bodily form of the ‘Grecian bend’ (Barnard 120). Charles Kingsley singled out the ‘Grecian bend’ for ridicule in “Nausicaa,” deriding its ‘Grecian’ epithet and pouring...
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Hoover City Schools Secondary Curriculum Arts, 2007-08
The emphasis is clear; the natural female forms Kingsley has seen in the British Museum belong to the mothers and sisters who have bred the greatest civilisation in the world. Kingsley compares the sculpted female forms to the contemporary ugliness he sees on the streets around him, which he condemns; advocating a form of physical education for young women as well as the wearing of less bodily restrictive clothing. Arguably, Kingsley’s ideas on the physical education of young women to equip them better for motherhood and a healthy life correspond to Gilbert’s reading of defining health in the mid-nineteenth...
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Art & Design: Sculpture
Some adaptation of the Greek dress, the most perfect of known costumes has been suggested as meeting all needs. The simple Chyton would be pretty enough for young and finely moulded women, but for the many it would be too trying and monotonous. Robust and lovely as is the pure English type, the race is too mixed as I have said to endure one costume; long-limbed and short- limbed, the small waisted and the heavily built, could not be equally set off by such a dress, any more than fair and dark can submit to one colour. The Greek pallium,...
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Augmented Sculpture: Computer Ghosts of Physical Artifacts
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Blender: Working with 3D
Every effort has been made to ensure that all the information in this book is accurate. Due to differing conditions, equipment, tools, and individual skills, the publisher cannot be responsible for any injuries, losses, and other damages that may result from the use of the information in this book. Final determination of the suitability of any information, procedure or product for use contemplated by any user, and the manner of that use, is the sole responsibility of the user. This book is intended for informational purposes only....
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From “Beyond Modern Sculpture” – Jack Burnham
The views, opinions and findings contained in this book are those of the author. The publishers, editors, reviewers and author assume no responsibility or liability for errors or any consequences arising from the use of the information contained herein. Registered names and trademarks, etc., used in this publication, even without specific indication thereof, are not to be considered unprotected by the law. Mention of trade names of commercial products does not constitute endorsement or recommendation for use by the publishers, editors or authors....
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Carving Foam is great for Sculpture, Models, and large scale pattern work!
As an artist, educator and gallery director, I’ve spent many hours looking at and thinking about art and art making. Often I’m looking for inspiration for my own work or for a curatorial idea I have brewing. Many times I’ve sent stu- dents to look someone up, so they can better understand the artist’s ideas and techniques in order to better inform their own work. This book is a great tool for exactly that process. From beginning to end it contains details about the making process. As a gallery director I’m forever re- introducing patrons to people and ideas that everyone should hold...
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Contemporary clay sculpture a collection of four of our favorite articles on contemporary ceramic sculpture
I also feel strongly that art making is a research driven activity. The infor- mation contained in this book is written by some of the more innovative and interesting minds working in ceramics today. While not all of the ideas are necessarily groundbreaking, they are unique in their individual approach to the use of the material. How these artists researched and successfully used the processes they set out to is inspirational, informative and important. I hope you find the research contained in these pages as exciting as I do....
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Ceramic Sculpture Ceramic Arts Handbook Series
George McCauley shapes these varied life experiences into clay forms that are assembled as wholly personal and re- vealing sculpture. Prior to studying art, his vocational positions included carpenter, concrete inspector, waiter and chef, mechanic, horse trainer and aluminum-siding salesman. Like many of his contemporaries, McCauley was drawn to clay after his initial introduction, a classic case of the “love at first touch” syndrome. Ron Meyers at the University of Georgia, was a significant role model. At the University of South Carolina, Meyers fostered an environment of experimental freedom, instilling in McCauley a sense of discovery and excitement for the medium. The work...
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