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Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person, so its spiritual world and position in society is the main theme of fine art. For many years, portraits in Azerbaijani painting have been mainly dedicated not only to creative intellectuals, but also to workers, collective farmers and labor pioneers. In portraits, on the one side, there is a generalization of images, and on the other side, there is a more democratic approach to the selection of models. The characters in the portraits are close people, friends, relatives of the artists, or strangers who are attracted only by their appearance. Elements of painting in the human image of Azerbaijani artists attract attention: color, texture experiment, spatial elements, format, etc. It is known that in order to create a realistic portrait, artists must master the perception of emotions in a person’s environment, as well as master the art of realist painting. Throughout the development of the portrait genre, artists are engaged in research, trying to convey the true image of a person in an objective way. In the portrait genre, the image of the century was clearly visible. In the portraits of Azerbaijani artists, generalized, energetic, strong images are often replaced by psychologically complex characters. There is a growing interest in the spiritual world of images, the tendency to reach the depths of thought and intellect, to create a portrait with a rich spiritual content. Portraits created by Azerbaijani artists in modern times differ in their main features, such as deep spirituality and strict intellect., Актуальність. Роботи Х.Алієва відзначаються вдалими різкими кольоровими переходами, тональними плямами, світловими ефектами, миттєвими відблисками у формуванні динамізму, а також унікальною творчою позицією художника в поєднанні з різними композиційними структурами. Тому розгляд його творчості нині надзвичайно важливий. Мета статті— дослідити художні особливості портретних робіт народного художника Х.Алієва. Методологія. Під час дослідження використано метод порівняльного аналізу. Результати. У творі «Молла Насреддін», який зараз зберігається в приватній колекції в Норвегії, художник втілив глибоке вираження динамізму в композиції: як жорсткість рухів, раптові стрибки, так і контрастний перехід кольорів від світлого до темного та навпаки. Серед графічних прикладів, створених у згаданий період, унікальна композиція твору «Дороги» привертає увагу аудиторії. Художник оспівав далекий шлях, сповнений руху великої кількості людей, які ідуть в одному напрямку. Марш людей, котрі долучаються до руху на порожньому фоні, виражає їх спільне мислення та волю. Тут художник успішно впровадив масове мислення. Цікава та жартівлива композиція художника в його карикатурі «Мистецький мученик», створена приблизно 20років тому. Сценічний гімн виступу довговухого, котрий тримає в руках бубон, у художній формі чітко виражає задум митця. Вирішення символічного значення, наданого художником деяким сценам життя, використовуючи народні вислови в унікальній композиційній структурі, дозволяє оцінювати творчість художника, подаючи його в різній формі в кожному творі. Наприклад, у своїй роботі 2001р. «Вони роблять старий Місяць зіркою» він похвалив астролога, що сидів на орлі з відрізаною головою і перетворював старий місяць на зірки на небі. Художник мав на увазі людей, які були невдячними та відступниками. Практичне значення. Роботи Х.Алієва надзвичайно цікаві й важливі для всіх дослідників, художників завдяки глибокому вираженню динамізму в композиції. Молоді митці можуть використовувати його живописну форму та методи у своїй діяльності. Висновки. У результаті дослідження можна відзначити, що в роботах Х.Алієва художні перебільшення, різні оцінки подій або керування ними відповідно до змісту твору становлять неординарні творчі відкриття. Наприклад, художник, який перетворив фрагмент всесвітньовідомого скульптора О.Родена «Мислитель» на картину, показав, як дві змії стикаються, б’ються і намагаються отруїти одна одну, водночас вони заглиблені в роздуми про світ події. Тут різкість художнього узагальнення в такій складній сцені, як знищення тієї самої статі, змушує глядача замислитися.

The interaction of light and shadow has always fascinated architects, and even more so since Le Corbusier’s famous quote from 1923, published in Vers une Architecture, in which he describes architecture as “the learned game, correct and magnificent, of forms assembled in the light”. This game, which thus motivated the painters of Purism and Cubism – among whom Le Corbusier would come to be included – contributed in great part to the definition of the aesthetic ideals of the artistic avant-garde in the West in the first half of the 20th century. Associated with the purity of crystal, with the idea of total transparency, and with the blurring of the boundaries between the interior and the exterior, this very same game served as the conceptual premise of (and later as a critical challenge to) the architecture of the Modern Movement. The counterpoint to the purist and crystalline impetus of modernism would emerge, and indeed one of many, by way of “In Praise of Shadows”, a reference to the book written in 1933 by Junichiro Tanizaki. In this work, the author examines how Oriental culture (in contrast with Western culture) has always sought to shield the interior space from the invasion of light and from exterior views by use of trees, porches, patios, shutters, and translucent sliding doors or dividers (the Japanese shôji). It is not by accident that many of these traditional elements would once again come to be adopted by Western architecture from the late 1950s onward in its search for vernacular values deriving from a broad variety of cultures. Having studied in these seminal years of critical review of the Modern Movement and coinciding with the publication of the Survey on Regional Architecture in Portugal – (Inquérito à Arquitetura Popular em Portugal) (1955-1961), the young architect Álvaro Siza learned from Fernando Távora – his former teacher and mentor – to appreciate not only the effect of light on forms (Távora himself admitted to being an avid admirer of Le Corbusier), but also to stroll about the shadows in traditional habitats (Távora would gather important teachings from Japanese architecture during his grand tour in 1960 and filtering it through another great influence of his: Frank Lloyd Wright). These different “phantom-characters” would come to also occupy the imagination of the young Siza, and to them he added references to Alvar Aalto, Bruno Taut or Adolf Loos, at the moment of considering the relationship between the individual and the collective space, between the domestic and the monumental scale, between the window and the city. The photographic work of Mark Durden and João Leal focusing on Álvaro Siza’s work in Porto – now published by Scopio Newspaper – goes in search of not only this same game of shadows upon the target surfaces of the façades and the interiors of the buildings but also the multiplicity of transparencies and penumbras that unfold through their ample glazed windows. [...]

Ideja za temu diplomskog rada nastala je istraživanjem nabiranja odjeće u povijesti do danas. Uzor je antička odjeća koja je nježno obavijala tijelo i naglašavala sve ključne točke te se ona smatra jednom od najženstvenijih, ali i najdostojanstvenijom u povijesti odijevanja. Istraživanjem vrsta nabora i njihove pojave kroz povijest te primjenom na materijalima raznih svojstava nastala je kolekcija izrađena od materijala koji su izgledom i svojstvima potpuno drugačiji tako da se odjevni predmeti sastoje od kontrasta rastezljivo – kruto, mekano – tvrdo, pravilno – nepravilno. Kao rezultat istraživanja nastala je kolekcija od 5 odjevnih kombinacija., Idea for my master thesis came from researching pleats in clothes from history till today. Role model was antic clothes wich gently rolled over the body and highlighted the key points and it was considered to be one of the most feminine and most dignity clothes in history. Researching the types of pleats and their appear in history and their apply on materials of many charachteristics produced my collection made from materials wich are different in looks and characheristics so the garments are made of contrasts: strech- non strech, soft-hard, right –inccorectly. As a result of research came a collection of 5 garments

Na prelomu prejšnjega stoletja se je v arhitekturi zgodil velik preobrat na področju principov gradnje. Moderna arhitektura je pod vplivom idej Bauhausa začela združevati funkcionalno z estetskim, še posebej z uporabo izčiščenih geometrijskih form in novih materialov, kot so steklo, jeklo in armirani beton. Pomemben prispevek k tej ideologiji predstavlja filozofija ameriškega arhitekta Franka Lloyda Wrighta o organski arhitekturi, ki narekuje, da mora biti stavba (tako njen interier kot eksterier) zgrajena v harmoniji z naravo in se popolnoma podrediti karakteristikam reliefa. Najboljša izvedba te ideje se kaže v zasnovi počitniške rezidence družine Kaufmann - stavbe Fallingwater v Pensilvaniji, ki je osrednji predmet obravnave v diplomskem delu. Naloga se posveča umetnostnozgodovinski obravnavi Wrightove biografije s strani različnih avtorjev, s poudarki na analizi arhitekturnega in oblikovalskega koncepta na primeru stavbe Fallingwater, ki že z lego nad slapom sporoča o prvinah organskega. Zanimalo nas bo, kje v dizajnu interierja in notranje opreme se kaže unija z naravo, kako se umetnikovo vgrajeno pohištvo sklada z zbirateljskim pohištvom naročnikov, kakšen je pomen svetlobe in sence in kako je dosežen dekorativni učinek skozi oblike, teksture in barve. Raziskava je zaokrožena s potegom vzporednic med interierjem in eksterierjem, v smislu njune fizične, vizualne in simbolične povezanosti - temeljnih principov Wrightove ideologije organskega oblikovanja. At the turn of the previous century, there occured a major shift in the field of architecture, regarding the principles of construction. Modern architecture, under the influence of the ideas of Bauhaus, began combining the functional with the aesthetic, especially by using pure geometric shapes and new materials, such as steel, glass and reinforced concrete. An important contribution to this ideology was made by the American architect Frank Lloyd Wright's philosophy of organic artchitecture, which dictates that a structure (in both interior and exterior) must be built in harmony with nature and completely conform to the characteristics of the relief. This idea was best realized in the design of the Kaufmann family's holiday residence - the Fallingwater building in Pennsylvania, which is the main object of study in this thesis. The latter focuses on the art historical treatment of Wright's biography by various authors, especially the analysis of the architectural and design concept, as exemplified by the Fallingwater building, which indicates "organic" just by being situated above a waterfall. We will look into where in the building's interior design and interior furnishings the unity with nature is shown, where is the correspondence between the artist's built-in furniture and the collectable furniture of Kaufmann family, what the meaning of light and shadow is, and how a decorative effect is attained through shape, texture and colour. The research is augmented by drawing parallels between the interior and the exterior through their physical, visual and symbolic harmony - the core principles of Wright's ideology of organic design.

Desde os relógios solares da Antiguidade até os painéis fotovoltaicos atuais, o homem procura interagir com a luz. Seguindo a mesma intuição de usar esse recurso renovável, essa pesquisa apresenta um estudo de criação de imagens bi cromáticas através da luz e sombra. Na arquitetura, o uso de texturas em conjunto com a iluminação vem sendo cada vez mais usado como elemento decorativo em revestimentos, painéis, murais e fachadas. Com o objetivo de traçar diretrizes para otimizar a aplicação dessas texturas, foram selecionados parâmetros de inclinação do módulo, complexidade da imagem e opacidade do material. Com a ajuda do softwareRhinoceros e o plug-inGrasshopper, esses parâmetros foram testados em todas as possíveis combinações e simulados em ambientes internos e externos. Ao final do estudo, foi possível dar diretrizes de dimensionamento de painéis para os tipos de ambientes, inclinação ideal do módulo para melhor contraste entre figura e fundo, dimensões mínimas para que textos sejam legíveis e o melhor nível de opacidade na escolha dos materiais. Esse material poderá servir para arquitetos, designers e decoradores que necessitam representar imagens, textos ou passar qualquer informação através de texturas, luz e sombra. From the ancient solar clocks to the current photovoltaic panels, man seeks to interact with light. Following the same intuition of using renewable resources, this article presents a study with the creation of bi chromatic images through light and shadow. In architecture, the use of textures in conjunction with lighting has been increasingly used as a decorative element in coatings, panels, murals and facades. With the purpose of proposing guidelines to optimize the application of these textures, parameters of module inclination, image complexity and opacity of the material were selected. With the aid of Rhinoceros software and the Grasshopper plug-in, these parameters were tested in all possible combinations and simulated in indoor and outdoor environments. At the end of the study, it was possible to indicate the sizing of panels for the types of environments, the ideal slope of the module for better contrast between figure and background, the minimum dimensions for texts to be readable and the best level of opacity in the choice of materials. The findings can be used for architects, designers and decorators who need to represent images, texts or to pass any information through textures, light and shade.

This theoretical project-based thesis focuses on surface quality of art objects in the field of artwork. The theoretical section provides general insight into the problematics and it also offers concrete examples of artistic and architectural creations where texture serves an important role. It further introduces and elaborates a few instances of art lessons from special didactics focusing on texture utilization in its artistic activities. The project section of the thesis contains seven logically systematized art lessons which utilize various forms of experimental activities dealing with the subject of texture suitable for the primary school children.

presente trabalho, realizado no Programa Interdisciplinar em Performances Culturais da Faculdade de Ciências Sociais, visa compreender através de um diálogo entre as obras pictóricas de Rembrandt Van Rijn (1606-1669) e teatrais de Edward Gordon Craig (1872-1966) como se deu o processo criativo da iluminação em “Cascando Beckett: uma imagem como outra qualquer”. Para tanto, visa problematizar de que maneira a luz, a sombra e a escuridão foram utilizados por esses artistas para a criação de seus espaços performáticos. Para a partir dos pensamentos desses artistas desvelar uma nova percepção do espaço de Cascando Beckett pela presentificação desses fenômenos. Assim, essa pesquisa acredita que tanto Rembrandt quanto Gordon Craig procuraram compreender os fenômenos luz, sombra e escuridão na criação do espaço performático em seu potencial simbólico, imagético e dramático. Para tanto, essa dissertação se desenvolve através de uma abordagem qualitativa, bibliográfica, iconográfica e exploratória, junto a um estudo da fenomenologia da percepção de Maurice Merleau-Ponty, a teoria da Gestalt nas pesquisas de Rudolf Arnheim e dos estudos das Performances Culturais. Portanto, essa pesquisa se estrutura para compreender os potenciais simbólicos, imagéticos e dramáticos da luz, da sombra e da escuridão na criação dos espaços performáticos de Rembrandt Van Rijn, Edward Gordon Craig e da peça Cascando Beckett. The present work, realized in the Interdisciplinary Program in Cultural Performances of the Faculty of Social Sciences, aims to understand through a dialogue between the pictorial works of Rembrandt Van Rijn (1606-1669) and theatrical ones of Edward Gordon Craig (1872-1966) as it happened the creative process of enlightenment in "Cascando Beckett: An Image Like Any Other". To do so, it aims to problematize how light, shadow and darkness were used by these artists to create their performance spaces. From the thoughts of these artists to unveil a new perception of the space of Cascando Beckett by the presentification of these phenomena. Thus, this research believes that both Rembrandt and Gordon Craig sought to understand the phenomena of light, shadow, and darkness in the creation of performatic space in its symbolic, imaginative and dramatic potential. For this, this dissertation develops through a qualitative, bibliographic, iconographic and exploratory approach, together with a study of Maurice Merleau-Ponty's phenomenology of perception, Gestalt theory in Rudolf Arnheim's researches and studies of Cultural Performances. Therefore, this research is structured to understand the symbolic, imaginative and dramatic potentials of light, shadow and darkness in the creation of the performance spaces of Rembrandt Van Rijn, Edward Gordon Craig and Cascando Beckett.

Skozi diplomsko nalogo sem opazovala odnose med svetlobo in senco, med vodo in steklom. Pregledala sem, kaj sploh senca je in kakšen imata odnos svetloba in steklo v fizikalnem vidiku. Preko teorije fizike sem raziskala lomne količnike in vrste sence, kasneje pa sem se osredotočila na izdelek, ki sem ga želela izdelati – umivalnik. Pregledala sem knjige o oblikovanju življenjskega prostora in ergonomske zakonitosti, ki so nujno potrebne za funkcionalnost izdelka (višina postavitve, odmaknjenost od stene, velikost, oblika). Pri samem izdelku sem se ukvarjala s teksturami in reliefi, tudi z lomom svetlobe. Izdelala sem teste reliefa, hkrati pa pri tem raziskovala tudi otipni občutek, ki ga določena tekstura pušča. Glede na teste sem kasneje razmišljala o obliki in o občutku, katerega želim, da ima uporabnik ob preizkušanju tega umivalnika. Uporabni predmet pa ni uporabni predmet, če ga ne postaviš v prostor, zato sem se ukvarjala tudi s tem, kakšno pipo naj izberem, kakšen je primeren sifon in kako bo zadeva na koncu predstavljena. Through my bachelor thesis, I was exploring relations between light and shadow, water and glass. I tried to find out what shadow really is and how it corresponds with light from the physical point of view. Through the theory of physics I learned about quotients of light and types of shadow, and later on how to make a functional object – a sink. Exploration of topic began with books about creating a living space and about ergonomic laws, which are necessary for functionality of an object. Creating the final piece I was playing with textures, light and shadow, while also exploring how material feels if you touch it. Deciding on the kiln tests my thinking was oriented on shape and sentiment, I wanted to create for user of this sink. But functional object is not a functional object, if it isn't positioned in the space, so my research also included searching for the right tap and lightning to present and exhibit the final product.

The purpose of the project was to explore how a learning study (LS) based on variation theory could support the development of playful physics learning in early childhood education. The study explored what patterns of variation used during a three-cycle LS challenged and developed children’s ways of discerning why a shadow occurred. The empirical material comprised a screening (n = 7), three video-documented interventions, and 78 individual pre- and post-test interviews (n = 39) at 4 - 5 years old. Three somewhat different patterns of variation were implemented within a playful frame in the three groups. The results indicate low and non/significant improvements in cycle A, somewhat higher and significant improvements in cycle B, and substantially higher and significant improvements in cycle C. The study indicates a promising ability to combine a playful approach with the variation theory perspective to stimulate children’s understanding of a quite advanced scientific phenomenon. The careful process of identifying potential critical aspects, the awareness of the relationship between the whole and its parts, and the concretization of simultaneity are discussed as key aspects of these findings.

This paper analyzes the two fragments that make up Light and shadow: “A nightly (dream-) experience” and “The Man in the Red Glass Bell” by Ludwig Wittgenstein, which are done by Ilse Somavilla, defining from her different interpretations, the gap between science, culture and religion that underlies the thinking of the austrian philosopher. El artículo analiza los dos fragmentos que componen Luz y sombra: “Vivencia (-sueño) nocturna” y “El ser humano en la campana de cristal roja” de Ludwig Wittgenstein, que hace Ilse Somavilla, definiendo, a partir de sus líneas interpretativas, la fractura entre ciencia, cultura y religión que subyace baje el pensamiento del filósofo austriaco.

This study aims to investigate the expressive use of light and experimentation in the artistic composition of the photographic portrait. It is considered in this research the photographic composition thought to the light, as an aesthetic element responsible for setting up what is put in and create perceptions in the picture, based on the concept that to portray a certain subject, the photographer proposes express it somehow, you think of an idea of lighting that produces the atmosphere and the desired expressive effect. The light is manifested in the picture in different ways, according to the principles of subjective composition, corresponding to what the photographer wants to express what portrays. Combined with experimental activity in the photographic composition, experimentation implies an act of discovery and creation inherent in choices that lead to materialization of artistic expression in the picture. It is through the photographic writing photographers create their images. In this sense, the study examines the artistic composition of pictures produced by Camila hose and Tiago Santana, lighting and experimental activity as ways to shape the photographic portrait. The methodological design is literature, descriptive and exploratory research. Found that the lighting is a power capable of producing extraordinary effects on the image, creating different atmospheres and be responsible for the expressiveness of the image, manifesting the image through the light elements and shadow, its color, its direction, its intensity, its character in interaction with other frame elements, through experimental manipulation, stress characteristics of the portrait subject and attribute meanings suggestive and evocative to portraying. Este estudo tem o objetivo de investigar o uso expressivo da luz e da experimentação na composição artística do retrato fotográfico. Considera-se nesta pesquisa a composição fotográfica pensada em relação a luz, como elemento estético responsável por configurar o que é posto em cena e criar percepções no retrato, baseado na concepção de que ao retratar um determinado assunto, o fotógrafo propõe expressá-lo de alguma maneira, pensa em uma ideia de iluminação que produza a atmosfera e o efeito expressivo desejado. A luz se manifesta no retrato de diferentes formas, conforme os princípios de composição subjetivas, correspondentes ao que o fotógrafo quer expressar do que retrata. Aliada a atividade experimental na composição fotográfica, a experimentação implica um ato de descobertas e escolhas inerentes a criação, que remetem a materialização da expressividade artística no retrato, pois é através da escrita fotográfica que os profissionais criam suas imagens. Nesse sentido, este estudo examina a composição artística dos retratos produzidos por Camila Mangueira e Tiago Santana, a iluminação e a atividade experimental como maneiras de dar forma ao retrato fotográfico. A concepção metodológica utiliza-se de uma pesquisa bibliográfica, descritiva e exploratória em que se constatou que a iluminação é uma potência capaz de produzir efeitos extraordinários sobre a imagem, criar atmosferas distintas e ser responsável pela expressividade da imagem, manifestando-se na imagem através dos elementos luz e sombra, sua cor, sua direção, sua intensidade e seu caráter em interação com os demais elementos do quadro, que através do manuseio experimental, acentuam características próprias do assunto do retrato e atribuem significados sugestivos e evocativos ao que se retrata.

A house can be considered a place made from the stories that make it. In order to design the house I recalled places I experienced during my childhood. Digging back through the memories of those places I became intrigued why those particular memories remained so vivid in my mind. I listened to stories told to me by my parents about the houses where they grew up and the spatial experiences they remembered. The fabrication is a house in northern Iran activating the memories of those collective stories. The fabrication does not necessary follow particular conventions customary to the specific region. In fact most of the qualities incorporated in the project have roots in traditional bazaars and houses across Iran. The project primarily studies the relation between varieties of architectural spaces through photography. Models and analytical drawings were an essential part of the work. Master of Architecture

Annotation: Macháčková, Z.: Image, photography as a concept in elementary school education [Diploma thesis] Brno 2012 - Charles University in Prague, Faculty of education, Department of Art, 114 p. Objectives: Based on both recommended and other literature, discuss the evolution of photography (analogue and digital photography, photographic types and genres) and hint at the specifics of photographic production in comparison with classical art media. Discuss the expressive possibilities of manipulated photography (PC photography editing, collage, photomontage, etc.), with attention to applicability of photography in elementary school education. Consider organic inter-discplinary relations between the art class and other classes. Design a didactic project for an art class, based on the Framework Education Programme for Basic Education. The project should employ digital photography as a specific and accessible art medium and should be practically validated. It should focus on experiments and etudes, in which students would use photography as an accessible tool to experience and create art. Results: The proposed project, based on digital photography as a device for art activities, has shown that photography can be practically and successfully applied in elementary school classwork. Keywords: Elementary...