SPECIAL ISSUE PAPER
The Influence of Barbizon School’s Educational Approach on Modern Art and Nature-Art Relationship in Jackson Pollock Works
,
 
 
 
More details
Hide details
1
Near East University, N. CYPRUS
 
 
Online publication date: 2017-11-01
 
 
Publication date: 2017-11-01
 
 
EURASIA J. Math., Sci Tech. Ed 2017;13(11):7353-7364
 
This article has been presented in ICES 2017 - International Conference on Environmental Sciences & Educational Studies. This article belongs to the special issue " Interdisciplinary Research on the Environmental Education, Educational Studies in Sustainability & Instructional Technologies and Designs".
KEYWORDS
ABSTRACT
This study evaluates the factors forming Modern Art by examining the Barbizon school’s approach in art education, in comparison to the academic understanding of art. The invention of photography steered the visual art schools towards a new conceptualization of nature. The awareness that Impressionist and Post-impressionist movements achieved in the depiction of nature came to define modern art. Modern art finds character with the learning outcomes of new art education and approaches that brake away from the traditional Renaissance depiction of nature. Cubist movement which forms a foundation for Modern art transformed the images of nature through a conceptual perception that experiences visual reality as a mental stage. The impact of Cubist geometric and multi-perspective portrayal of nature will be examined in Modern Art painting samples. The artistic performance of Jackson Pollock will be associated with the development of Modern Art to provide a fresh perspective on art-nature relationship.
 
REFERENCES (16)
1.
Adnan, T. (1992). Dünya Sanat Tarihi. İstanbul: Remzi Kitabevi.
 
2.
Berger, J. (2011). The success and failure of Picasso. UK: Vintage.
 
3.
Burke, P. (1969). The Renaissance sense of the past. London: Hodder Arnold.
 
4.
Cunningham, A. (2000). Essential Impressionists. UK: Dempsey Parr.
 
5.
Gombrich, E. H., & Gombrich, E. H. (1995). The story of art (Vol. 12). London: Phaidon.
 
6.
Harrison, C., & Wood, P. (Eds.). (1992). Art in theory, 1900-1990: an anthology of changing ideas (Vol. 3). Oxford: Blackwell.
 
7.
Heilbrun, F. (2009). Impressionism and Photography. History of Photography, 33, 1, 18-25. doi:10.1080/03087290802582889.
 
8.
Ismail, T. (2002). Sanat Ontolojisi. Istanbul: Inkılap Yay.
 
9.
Jia, Q., Keheng, Z., & Haiyang, Y.(2017). Art Design Education in the New Era Featured with the Integration of Arts and Motion Sensing Technology. EURASIA Journal of Mathematics Science and Technology Education, 13(8), 5883-5891. doi:10.12973/eurasia.2017.01037a.
 
10.
Lynton, N. (1980). The story of modern art. London: Phaidon Press.
 
11.
Panofsky, E., Wood, C. S., & Wood, C. (1991). Perspective as symbolic form (p. 31). New York: Zone books.
 
12.
Picasso, P., & Ashton, D. (1988). Picasso on art: A selection of views. Massachusetts, Cambridge: Da Capo Press.
 
13.
Shiner, L. (2001). The invention of art: A cultural history. Chicago: University of Chicago Press.
 
14.
Soykan, Ö. N. (2009). Sanat Sosyolojisi-Kuram ve Uygulama. Istanbul: Dönence Yayınları.
 
15.
Todorov, T., Legros, R., & Foucroulle, B. (2005). La naissance de l’individu dans l’art. France: Grasset.
 
16.
Tunalı, İ. (2003). Felsefenin Işığında Modern Resim (6. Basım). İstanbul: rh+ Yayınları.
 
eISSN:1305-8223
ISSN:1305-8215
Journals System - logo
Scroll to top