My understanding is that morality, benevolence and art are spiritual aspects, while all other disciplines are learned through human nature. Learning in these disciplines requires a diligent and genius mind, while studying art only requires sincerity and love. Therefore, in a certain sense, learning art is a more convenient passage to the truth. May we work together to make the future of art a prosperous one!

“I am very honoured to be an alumnus of Birmingham City University! The study of art is not the same as other professions. Confucius said “志于道、居于德、依于仁、游于艺”– “let the will be set on the path of duty. Let every attainment of what is good be firmly grasped. Let perfect virtue be emulated. Let relaxation and enjoyment be found in the arts”). The general idea is that art is the last energy or path to the soul, which is second only to morality and benevolence. It is firmly placed in front of philosophy and science.

Jun’s artistry has been described as “paintings that are beyond limits” by scholars, meaning they meet or exceed the expression of oil paint material. His artistic process relies entirely on sketching, rather than photographs, ensuring that every work is vivid and intriguing in its visual effect, capturing the minutest details.

Bargue Drawing (Old Middle-Class Thread)

I have done a couple of Bargue copies. I spent 2 months on the first one and about a month on the second. After doing a couple of these, your eye with be HIGHLY trained. You will be able to spot mistakes in your work much easier. Also, you won't be afraid of anything. Taking on a challenge like this makes other drawing tasks seem really easy. I recommend it for anyone who wants to shave a year or two off their training.

This book sounds like an outdated way of training. I was finding out more about it and read a comment describing its history and how its been used predominantly in France's Ecole des Beaux Arts until it "...fell out of favour when those pesky post impressionists stopped worrying about how accurate their drawing was and started worrying about the expression of their personal vision instead." It's no more outdated than studying anatomy. By your logic we should not study anatomy, either. The post-impressionism is just another change in philosophy. If your goal is to learn how to master your drawing tools and copy something with pin-point precision, then Bargue studies will help. if you want to learn to draw an eye correctly, do it by observing and interpreting real life, not by copying exactly another drawing of real life. You don't get the point. Bargue plates are very clear and simplify the forms that would otherwise be harder to read in life. The smooth / flawless gradations allow for clear interpretation of what's in front of you. These plates don't negate from drawing from life, they are good exercises to take before tackling life. The text in that book is very good. @the_allejo05, have you been reading the text, also? It does go over how to do these plates. I can't remember if it mentions what materials to use, though. The huge point about doing these plates is that you do them with exact precision, otherwise there's no real point. Time investment is relative to the objective. You could get more out of one 300 hour drawing than you could 300 1 hour drawings. Quantity doesn't always overpower quality. The plates can take a lot of time to do right, but they'll also build your concentration and patients.

the way they were intended ? they were originally put together by Charles to show kids that for example an eye, isn't just a flat shape on something else that is flat, but actually a 3D form that sits on a plane and which has a relationship with all the other planes surrounding it, which eventually will make another 3D-form. Spending 300 + hours on something like a pencil drawing is ridiculous, especially when starting out. I agree that 2 hours isn't really that much, but it would depend on the size of the drawing though. If you're copying a whole plate, then 2 hours is very fast, and you're saying that this is the longest you've spent ? You might wanna have some more patience with those

CHARLES BARGUE DRAWING BOOK question.. i got the book and i have copied..freehand..up to plate 50.. mainly eyeballing and kinda of making looked like the original drawing..i have use bond paper and well and 2hb so far. .now i got the latest issue of international artist and the guy that is talking about academic methods estresses accuracy down to the last millimeter and making it look exactly like the original..so on my last one i got a bit more technical and was messuring more..although eyeball but being more careful..with shading and all..plate 51 was pain in the arse..hehe..took me like 2 hours to finish it and still did not look exactly right..I have a hard time on keeping my eye on one spot..i wonder around..i use to drawing quick not paitenly , i could tell errors, but is hard to erase with this cheap paper..but im kinda happy.overall .my questions are any tips for doing this better..what kind of materials (vine charcoal or paper?..set up..this book says that the plates have to be copied from a distance on an easel has anyone here done this?...it looks to be very gruosome training..

have you checked this thread? 2 hours for a bargue drawing is an uber rush job if you mean to use them in the way they were intended. it's very gruesome training. Personally, i'm not convinced by them. I've talked to people in florence doing them, and it helps you judge values but it's not gonna make you great at drawing. Getting good at drawing is a case of doing lots of drawings, but there we go. It is extremely satisfying if you do one properly, i did a couple and i don't regret it i just won't do more. rant over...bla bla bla ignore me.

geeza, in my opinion(and I stress: in-my-opinion), i think you should draw how it comes to you. You could, (and may be told by many) to spend several hours 'perfecting' a copy of a Bargue plate, but IMO i dont see how that is necassary. To me, learning to draw, is also finding and defining your inner self, YOUR style, your way of seeing things. Learning is a tool, the computer is a tool, oils, acrylic, charcoal - is a tool - the way you decide to put it down on paper, is your own instinct, your own desicion. By all means take the advice that is given to you here, and dont dismiss it - which i dont think you will - but utilise it, incorporate it into what you see and how your emotions push you. Also, my eye wonders too. But I let it. Im not afraid to let it, because thats just me. If i concentrate on one thing too much, i over work it, and its ruined. So let your eye wonder, go draw the bits you are attracted to, because at least if you get that down, you are able to see it, visualise it and prepare yourself to complete the rendering with ease.

Art, by it's very nature, is abstraction of what is real. So really, every piece of art is abstract art. It's hard to be a good artist and simply shrug off the Jackson Pollocks and the Mondrians of the art world, because there is a lot their work can teach us about composition and color.

I have an unfortunate morbid attraction to such utterly degenerate forums. Pardon me if I dont spend more than a minute of my time chuckling at their simian antics. EDIT: Having spent a few leisurely minutes glancing over their really rather vacuous but pretty site, I have come to a conclusion. These people are narrow minded elitist fools. I present the following quote as gruesome proof of their inability to comprehend the beauty in a simple smear of colour: At best they are craftsmen, with shoddy skills and unmethodical training. Ask yourself with an unbiased mind: What Rothko nebula or Pollock drip painting is more beautiful than a fine Persian rug, a Fabergé egg, or even a finely carved picture frame? The artificers of these three objects are craftsmen - but even they are not fine artists. Where do the legions of modernist smudgers, smearers, and splatterers rank?

ArtRenewal is about as intellectually unbiased as the Pope. Take that into consideration when you read anything that comes from that particular forum. The fact that they can't even accept the fact that ALL art IS and MUST BE by it's very nature ABSTRACT is more than a small problem, and try moving the discussion outside the realm of white western high-realism into other cultures just to see the mental acrobatics they have to go through to pretend to at least grudgingly accept whatever is discussed as "real" art. Tell me to accept only Abstract Expressionism as real art, and you're an asshole. Tell me to accept Frazetta and Stan Lee's output as the only real art, and you're an asshole. Tell me only the Byzantine Cultures produced real art, and you're an asshole. Please note that probably not one member of ArtRenewal would disagree with you if you repeated the three statements above, while they immediately tell you that the only "real" art is White Western High-Realism and its immediate "cousins.

Have you (OP) ever tried to create an abstract peice of art? No? Then I would not lend myself to pass judgment on an aspect of art you've never explored out of curiosity or having the slightest interest in. It's harder than the results brought about. Exploring different aspects of what "Art" is gives one a better sense of what you can do, what there is out there, what you really don't know.

I didn't say it would be good if Bouguereau had died at that young age, but he would have been better remembered. If the Dante painting is anything to go by his earlier work had more bite! (Literally.) It was the later 'sentimental', idealized stuff that the 'modernists' reacted against for a long time. I rather like it myself. It's invariably subtle and sweet, perfectly drawn and faultlessly rendered. I'd rather look at the worst thing Bouguereau ever did than the best Matisse in the world. Matisse's draftmanship is, by contrast, completely inept, his colours vile and garish, his characters monstrous. You can't say he was in any more moral or PC, either, as he did female nudes, too, (including odalisques) but he made them so hideous they put you off your dinner! It was an insult to women. I can't believe anyone's ever held this stuff up as fine art, or that anyone ever paid him as an art teacher. It's just so bad!

I think Bouguereau would be better thought of if he had died before he was 30 and was only remembered for Dante et Virgile au Enfers rather than all those prettyfied nymphs and children.

Bouguereau did about 30 paintings a year so a little less than two weeks per painting. it was actually less time for each painting than that though because he also taught at eh atelier and practiced drawing from casts every day as part of his regular routine and he was working only until sundown or a little after that. Same for Gerome. Skill means not constantly correcting your work. Academics had the skill it takes to get it right on the first sitting. Nowadays people fake their skill by tracing but tracing can't mix color for you or apply paint so people back into their finish by endlessly correcting it to get it right because they lack the knowledge and ability to do it right during the first application. N. C. Wyeth, Sargent, Zorn, Sorolla, and Chase regularly finished large-scale paintings in one or two sittings.

I tend to see this kind of art as a way for painters to talk back at the camera. But beyond that, I think it takes the subject matter of the photograph into another realm. Camera pictures being everywhere; magazines, television, ads, the internet... we don't pay much attention to 95% of them. But like JFierce said, walking by a gallery and seeing a giant photorealistic image painted on canvas really ought to catch your eye. So when a guy like Denis Peterson reproduces a horse race photograph with paints what he does is allow that image to be given fresher attention through a medium which is less crowded with similar imagery.

I had a professor at a community college who was a photo realistic painter. The detail was astounding. Various sizes, but he did seem to have the same bland taste in the subject matter. Like one was a gas pump. Although he did shift around the hue in some of them while keeping it realistic. Eh you don't get the feel as well through the internet. Seeing a giant canvas over 6 ft tall where it's still hard to distinguish it being done with brush strokes I found astounding.

Our videos focus on the most creative parts of the process - so you can watch and learn the most important part! To ensure you’re seeing the most creative part of the process we make the artists do all their sketching and doolding on video

Andrew Loomis created the Ideal Male and Female references over 70 years ago and since then generations of artists have used them to understand the complex proportions of human anatomy

It's was his designs that made Rackham miniatures an international sensation. Watching him sketch in the studio below was like magic! He explained to us why the sculpts based on his drawings were so appealing. "sculpting and drawing is the same - it's all about the silhouette. Details and realism are secondary, they only get in the way; the silhouette is what really matters." It was a revelation!

Art is always done within the constraints of a box.

The Computer vs The Hand In Architectural Drawing: ArchDaily Readers Respond

In this country, in other words,

Limited edition t-shirt of William Schaff’s A Dream in the Dark cover design.

the manuscripts that were discovered nine years ago, now in the University of Arkansas library with many of her other papers, are mostly complete and easily performed.

“Ancient temples were somewhat seen as quarries,” Bleiberg said, noting that “when you walk around medieval Cairo, you can see a much more ancient Egyptian object built into a wall.” Such a practice seems especially outrageous to modern viewers, considering our appreciation of Egyptian artifacts as masterful works of fine art, but Bleiberg is quick to point out that “ancient Egyptians didn’t have a word for ‘art.’ They would have referred to these objects as ‘equipment.’” When we talk about these artifacts as works of art, he said, we de-contextualize them.

Magic is an art, as capable of beauty as music, painting or poetry. But the core of every trick is a cold, cognitive experiment in perception: Does the trick fool the audience?

the most important secret in magic is that most people believe there’s a safe somewhere that contains all the magic secrets that’s heavily guarded and carefully locked. The biggest secret magicians have to keep is that that safe is empty.

Anyone who claims they can watch a piece of magic without trying to figure out how it’s done is lying. One of the fundamental joys of magic is it’s an intellectual art form at one level, and as a viewer, you’re trying to reconcile what you see with what you know

In Tim’s Vermeer, our friend Tim Jenison believes that he has discovered the method by which Vermeer got such photo-realistic effects. Knowing that does not in any way diminish my astonishment at looking at a Vermeer painting. Alexander Pope wrote, “A little learning is a dangerous thing/ drink deep, or not taste the Pierian spring.” He’s talking about exactly that. A little learning can spoil magic. A lot of learning enhances it.

Magicians get into magic because they’re seduced by the feeling of amazement. The ironic thing is, the deeper they dive into magic, the less often they get fooled. That seems immeasurably cruel.The deeper you get into magic, the more profound your amazement becomes. There’s an intermediary stage where you go, “Oh, is that all there is? It was just a thread?” And then when you work with a thread for four years, and you work out what must exactly be done to make that thread into something that is profound and difficult to imagine could be the cause of whatever it is you’re doing to it, you veer right into a different kind of amazement. It’s the amazement of the knowledgeable person. It’s the amazement of the astronomer who has studied everything about the stars that is available, and who sees and understands the mechanisms that we know about, but is able to appreciate how mysterious it all is in the larger picture.

Secrets of Magic, Revealed!

The magicians who rip off other conjurers' tricks

Eun Heekyung cho biết hiện nay công chúng Hàn Quốc đang đắm chìm trong văn hóa đại chúng là các loại hình nghe nhìn. "Trong khi văn chương có tác dụng làm cho người ta nhận thức được giá trị cuộc sống, làm người ta hạnh phúc hơn khi đắm mình vào cuộc sống".

Twin blowsPainting has been declared dead so many times over the past 150 years that it can be hard to keep track. But in her introduction, Hudson pinpoints two developments in the history of art that shook painting to its foundations, in both cases almost fatally. One was the invention of photography in the 1830s. Photographs did more than just depict the world better and faster than painting; they also made entire painterly languages defunct, from military painting to academic portraiture. (“From today, painting is dead,” the academic painter Paul Delaroche is purported to have said after seeing a daguerreotype for the first time.) Ever since, painting has in some ways functioned in dialogue with the camera. In some cases that dialogue takes the form of rejecting photographic realism, such as in the unnatural colour of Van Gogh. Or the dialogue is between equal partners. That can be via the use of silkscreened imagery, most famously by Andy Warhol; via a hyperrealism of Richard Estes or Franz Gertsch, whose paintings are ‘more photographic’ than photographs; or via more painterly effects that nevertheless advertise their photographic source, as in the art of Gerhard Richter and Chuck Close.After photography, the other body blow to the primacy of painting came in the 1910s, when Marcel Duchamp elevated a bicycle wheel, a bottle rack and an upturned urinal to the status of art. Even more than photography, the ready-made object struck at the heart of painting’s self-justification. Not only did Duchamp recalibrate the terms of artistic success, privileging ideas over visuals. He also eliminated the need for the artist’s hand in a way photography never entirely did. (Indeed, many photographers of the early 20th Century, from Ansel Adams to Edward Steichen, consciously imitated painting techniques.) Duchamp’s insurrection removed technical skill as a painterly virtue, and by the 1960s an artist like the minimalist sculptor Donald Judd could confidently say, “It seems painting is finished.”

As Shulman (1986) noted, this knowledge would include knowledge of concepts, theories, ideas, organizational frameworks, knowledge of evidence and proof, as well as established practices and approaches toward developing such knowledge. Knowledge and the nature of inquiry differ greatly between fields, and teachers should understand the deeper knowledge fundamentals of the disciplines in which they teach

一直使用加密技术现身本就给中本聪披上神秘的外衣；即设计出比特币系统又对其未来发展有着全面考虑，则让他被贴天才标签。难怪有人会认为中本聪是外星人、AI或神秘组织。但你若继续深挖，便会逐渐打消这些念头；慢慢发现中本聪并没有我们想得那么神，也没有所谓的科幻和阴谋色彩。

Costume designer Romy McCloskey recently used the skills the precision work of her hand embroidery and embellishments to help save the life of an injured Monarch butterfly

genius or observation

Architect and graphic designer Mahmoud Tammam has translated his love of word manipulation into a delightful series celebrating language.

recede the media concepts they generate

The Binding of Edmund McMillen

as is often claimed, rhetoric truly wants to become apractical art?

The rise, and completely predictable fall of game developer Phil Fish

Why we never hear from the maker of Fez anymore

The Making Of Fez, The Breaking Of Phil Fish

Finally, after 11 years of lukewarm comfort and mediocre job security, I decided to take a chance in trying out in art, which I had always loved. From one point of view, I’ve succeeded, because I am making a living doing this. But even if I didn’t, the bottom line is that at least I have tried. If we try really hard and things don’t work out the way we want them to, we can move on.  I moved with two suitcases to New York from Tokyo and started over with my life. I enrolled myself as a freshman in my 30s, among my 17 and 18-year-old classmates, at School of Visual Arts, started studying art for the first time. Four years later, I received an MFA in Illustration, then started slowly working as a freelance illustrator

The actual fundamentals can be somewhat fluid because what one person considers a fundamental subject, another may consider ancillary to the fundamentals.

SIGGRAPH: Share your top three technology tools. CC: I hate technology! But if you’re trying to make something pretty in this medium, there’s no avoiding it

SIGGRAPH: What is the best advice you would give someone starting out in animation? CC: Draw. Carry a sketchbook (or a tablet) and draw (or paint!) every chance you get. Make observations from the world around you, from photo or video reference, from artists you admire. Most importantly, don’t just observe, but put those observations down on paper in visual form. Make a habit of it. The things you learn that way will stay with you forever. And that knowledge will be useful no matter what medium you end up working in.

A: Anything else you’d like to say or tell the new comers and/or the community? L: Mmh, I know how it feels to be limited by your own lack of skills and today’s tools are taking away a little bit of that barrier. And the more the software helps you to get rid of the technical problems of representation, the more creative you can be. While the tool is the same, it’s very fun to see that everybody has its own take to how to use Quill. It wasn’t at first, but now I see more and more people having their own style. It’s so refreshing. I follow the group and what is going on with a lot of attention.

L: It happened to us a couple of times to come up with these kinds of ideas where the audience really understands what we meant and feels as strongly as we did. We want to communicate feelings that we feel ourselves. Whatever the tool is, we wish to convey what we think is great. It sounds a little bit cliché but if you’re out just for the pretty picture, I think it’s a waste of time.

A: Hello Lip, please tell us a bit more about you. What is your background? Did you study visual arts?   L: Not really [laughs]. My parents forced me to have a very classical education. I studied Latin and ancient Greek in high school. But when I was 18, I realized that I enjoy to visualize my ideas and thoughts. So I went to the University and studied advertising. I was heading toward more of a copywriting agency type of occupation until I felt the need to carry my ideas until completion. I was tired of giving them away too soon because I found my stories never really turned out the way they should be. Since the softwares got easier and more accessible, I managed to find the right moment to jump in and learn the technical skills to do it on my own.

When Hilma af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colorful, and untethered from any recognizable references to the physical world

As with all of the arts, literature was once upon a time entirely made possible through patrons. This goes at least as far back as Shakespeare and Ben Jonson. They were able to write because their patrons provided them financial support. And this was of course true of all of the other arts. Beginning in the middle of the nineteenth century, however, literature and commerce got mixed.

MOCIÓN DE CENSURA

DISOLUCIÓN ANTICIPADADE LAS CÁMARAS

Iniciativa: el Presidentedel Gobierno previadeliberación del Consejo deMinistros

This was a time when I was starting to think about what my career was going to be. I’d failed to make it as a musician. I’d had lots of appointments with A&R people. After two seconds, they’d say, It’s not going to happen, man. So I thought I’d have a go at a radio play.  Then, almost by accident, I came across a little advertisement for a creative-writing M.A. taught by Malcolm Bradbury at the University of East Anglia. Today it’s a famous course, but in those days it was a laughable idea, alarmingly American. I discovered subsequently that it hadn’t run the previous year because not enough people had applied. Somebody told me Ian McEwan had done it a decade before. I thought he was the most exciting young writer around at that point. But the primary attraction was that I could go back to university for a year, fully funded by the government, and at the end I would only have to submit a thirty-page work of fiction. I sent the radio play to Malcolm Bradbury along with my application.  I was slightly taken aback when I was accepted, because it suddenly became real. I thought, these writers are going to scrutinize my work and it’s going to be humiliating. Somebody told me about a cottage for rent in the middle of nowhere in Cornwall that had previously been used as a rehabilitation place for drug addicts. I called up and said, I need a place for one month because I’ve got to teach myself to write. And that’s what I did that summer of 1979. It was the first time I really thought about the structure of a short story. I spent ages figuring out things like viewpoint, how you tell the story, and so on. At the end I had two stories to show, so I felt more secure.

As a student, you have to be very good at the craft

Mitchell said, “You have to do what you want to do. Don’t make a film so you can get into Pixar or DreamWorks.”

Pete Doctor, the director of Up, said that he went into school thinking that he needed to learn how to draw and left school believing that acting and storytelling were more important.

Use his or her own ideas in creatingworks of visual art

art—defi ned as “the way,” “the manner”—locating art not at the level of the fi nished object but in its trajectory (s

This will mean opening thought beyond its articulation in language towards “the movement of thought,” 4engaging it at the immanent limit where it is still fully in the act.

Most of the lessons and techniques you need will be picked up as you practice. Try to draw something from life every day. If you’re new it’ll be pretty bad. But take time to study your work and examine why it’s bad. Great artists eventually learn to teach themselves through self-analysis.

Realism is about seeing accurately and copying without judgement. This involves a lot of looking and measuring to triple and quadruple check your work for mistakes. It can be tedious, especially if you don’t want to create realist art. But the more you practice rendering the better you’ll get. Try not to concern yourself too much with either method at first. The best thing for a beginner is to just draw. As you improve you’ll run into more specific roadblocks and should deal with them as they arise.

How does someone practice both of these techniques? Well the constructionist route is taught well by Proko and Vilppu. The realist route is primarily the domain of ateliers and classical schools, but you can teach yourself with a lot of life drawing and patience.

Writers choose modes of communication for every text they create.

A red hand stencil. A series of lines that look like a ladder. A collection of red dots.

music and art were important in helping those early modern humans forge a sense of group identity and mutual trust that enabled them to become so successful.

Votación: mayoríaabsoluta en primeravotación o simple ensegunda votación tras48 h

the Sunken Cities exhibition opened this week at the St. Louis Art Museum.

This minimal, yet poignant presence is reflected in the brick work—Kafka’s novel showcasing how a small idea can have a monumental presence.

Chiang: There’s a passage in Annie Dillard’s The Writing Life where she’s telling her neighbor that she hates writing and would rather do anything else, and her neighbor says, “That’s like a guy who works in a factory all day, and hates it.” Writing is so difficult for me that I have often wondered whether I’m actually suited for it, and I’ve had experiences with the publishing industry that made me quit writing for years. But I keep coming back to it because, I suppose, writing is an essential part of who I am. As for advice to slow writers, I’d say that writing is not a race. This isn’t a situation where only the most prolific writers get an audience; publish your story when you’re ready, and it will find readers.

After winning the Forward prize, Vuong told the Guardian that he suspected dyslexia runs in his family, but felt it had positively affected his writing: “I think perhaps the disability helped me a bit, because I write very slowly and see words as objects. I’m always trying to look for words inside words. It’s so beautiful to me that the word laughter is inside slaughter.”

Vuong, who now lives in Massachusetts and works as an assistant professor in the MFA Program for Poets and Writers at the University of Massachusetts, Amherst, only gained a taste for poetry in his 20s

Born in Saigon, Vuong spent a year in a refugee camp as a baby and migrated to America when he was two years old, where he was raised by his mother, grandmother and aunt. Two aspects of Vuong’s life – his sexuality and the absence of his father – recur in his work

I am the vision. There are no limits to painting; that's why I am involved i

It feels like being on another planet and I want to explore immediat

The history of painting is full of graphic violence and narratives that don’t necessarily belong to the artists own life

the desponding view that the condition of man cannot be ameliorated, that what has been, must ever be,

the erection, preservation & repair of the buildings, the care of the grounds & appurtenances and of the interests of the university generally

they are of opinion that it should consist of distinct houses or pavilions, arranged at proper distances on each side of a lawn of a proper breadth, & of indefinite extent in one direction at least

mathematical and physical sciences which advance the arts & administer to the health, the subsistence & comforts of human life:

Rhetoric

Anglo-Saxon

It will form the first link in the Chain of an historical review of our language through all its successive changes to the present day, will constitute the foundation of that critical instruction in it, which ought to be found in a Seminary of general learning

To enlighten them with mathematical and physical sciences which advance the arts & administer to the health, the subsistence & comforts of human life:

4. The best mode of government for youth in large collections, is certainly a desideratum not yet attained with us. It may well be questioned whether fear, after a certain age, is the motive to which we should have ordinary recourse. The human character is susceptible of other incitements to correct conduct, more worthy of employ, and of better effect. Pride of character, laudable ambition, & moral dispositions are innate correctives of the indiscretions of that lively age; and when strengthened by habitual appeal & exercise, have a happier effect on future character, than the degrading motive of fear; hardening them to disgrace, to corporal punishments, and servile humiliations, cannot be the best process for producing erect character. The affectionate deportment between father & son offers, in truth, the best example for that of tutor & pupil;

Education, in like manner engrafts a new man on the native stock, & improves what in his nature was vicious & perverse, into qualities of virtue and social worth; and it cannot be but that each generation succeeding to the knowledge acquired by all those who preceded it, adding to it their own acquisitions & discoveries, and handing the mass down for successive & constant accumulation, must advance the knowledge & well-being of mankind

To develope the reasoning faculties of our youth, enlarge their minds cultivate their morals, & instil into them the precepts of virtue & order

The tender age at which this part of education commences, generaly about the tenth year, would weigh heavily with parents in sending their sons to a school so distant as the Central establishment would be from most of them

When I am out of school I like to go take pictures

ẢNH HƯỞNG CỦA MỸ THUẬT TRUYỀN THỐNG TRONG MỸ THUẬT HIỆN ĐẠI

Những họa sĩ nổi tiếng của Việt Nam

And above all I find it a very worrying matter that you believe you have to study in order to write. No, my dear little sister, learn to dance or fall in love with one or more notary’s clerks, officers, in short whoever’s within your reach; rather, much rather commit any number of follies than study in Holland, it serves absolutely no purpose other than to make someone dull, and so I won’t hear of it. For my part, I still continually have the most impossible and highly unsuitable love affairs from which, as a rule, I emerge only with shame and disgrace.13 And in this I’m absolutely right, in my own view, because I tell myself that in earlier years, when I should have been in love, I immersed myself in religious and socialist affairs and considered art more sacred, more than now. Why are religion or law or art so sacred? People who do nothing other than be in love are perhaps more serious and holier than those who sacrifice their love and their heart to an idea. Be this as it may, to write a book, to perform a deed, to make a painting with life in it, one must be a living person oneself. And so for you, unless you never want to progress, studying is very much a side issue. Enjoy yourself as much as you can and have as many distractions as you can, and be aware that what people want in art nowadays has to be very lively, with strong colour, very intense. So intensify your own health and strength and life a little, that’s the best study.

Researchers say creativity should be taken out of the art room and put into homeroom. The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process. Scholars argue that current curriculum standards can still be met, if taught in a different way.

Sara Berman’s Closet opened in the American wing at the Metropolitan Museum of Art. Installed in a niche next to the gallery’s period rooms, the closet was recreated by Sara’s daughter, Maira Kalman, and her grandson, Alex Kalman, based on the actual closet in Sara Berman’s studio apartment on Horatio Street, where she lived between 1982 and 2004.

Each pixel you see was placed by hand. Each icon, each flag, each meme created painstakingly by millions of people who had nothing in common except an Internet connection.

Is Getting an MFA Worth the Price?

" I want there to be a continuum, a narrative, that tracks the history of people disseminating, collecting, sharing data.

I have a consistent impression that the broad resource of analogy, metaphor, and figuration is favored by those of a poetic and imaginative cast of mind.

'10 ........... ~ k-w ~r..J (!)00 a,,-..&,w1 +-l;lw ... 1111 OV\.b~ eo~u( ~ saying clearly what one wishes to say when there is an abundance of material; and conversation will seldom attain even the level of an intellectual pas-time if adequate methods of Interpretation are not also available.

Law and custom were of course largely re-sponsible for these strange intermissions of si-lence and speech. When a woman was liable, as she was in the fifteenth century, to be beaten and flung about the room if she did not marry the man of her parents' choice, the spiritual atmos-phere was not favourable to the production of works of art