Josef Albers's courses in color, design, drawing and painting, and Anni Albers's weaving and textile design classes, which adapted Bauhaus teaching to general education, have had a lasting
influence on art education.
Not exact matches
The main problem here is that of most liberal
education, that is, the
influence of Berlin
on the way liberal
arts courses are taught.
While names like Claude Chabrol, Jacques Rivette, Eric Rohmer and Francois Truffaut may not be familiar to even film - buffs without an extensive
education in European
art house (though most would certainly recognise the name of Jean - Luc Godard) they have gone
on to
influence filmmakers such as Quentin Tarantino, Martin Scorcese and Michel Gondry.
[v] For examples, see Meredith Adams and Paul Umbach, «Nonresponse and Online Student Evaluations of Teaching: Understanding the
Influence of Salience, Fatigue, and Academic Environments,» Research in Higher
Education, August 2012; Lillian MacNell, Adam Driscoll, and Andrea Hunt, «What's in a Name: Exposing Gender Bias in Student Ratings of Teaching,» Innovative Higher
Education, August 2015; and Pieter Spooren, Bert Brockx, and Dimitri Mortelmans, «
On the Validity of Student Evaluation of Teaching: The State of the
Art,» Review of Educational Research, October 2013.
Professor Christine Halse, Chair in
Education, School of
Education, Faculty of
Arts &
Education at Deakin University, said some of the key findings were how powerful outside of school
influences were
on shaping students» attitudes and behaviours, and how important and necessary it was for schools to consider and take into account they operate in this broader social context.
Previous work
on the impact of philanthropy in
education terms these types of status quo investments as «lower leverage» grants, which can include funding for efforts in professional development, unrestricted or general purpose grants to schools, or special - purpose grants to fund a particular program or activity (e.g.
arts enrichment).4 The contrasting approach — the «higher leverage» investment — is investment with the potential to exert systemic
influence on public
education, which can be divided into two broad categories: 5
In the elegantly designed catalogue for the exhibition, Alicia Longwell — Lewis B. and Dorothy Cullman Chief Curator,
Art and
Education at the Parrish and author of one of the four substantive essays — quotes Freilicher
on the support they offered one another: «There was some sort of affinity in our painting, but it wasn't actually that we
influenced each other.
Additionally, the focus
on a woman's own voice and gaze, as opposed to the more
art historical objectification of women, that the feminist artists initiated, deeply
influenced my
education and thus my own practice.
As Professor of Fine
Art at the Slade School in London from 1876 — 1893, he made a dynamic impact on British art education both as a painter and etcher, and exerted a decisive influence on the representation of peasant life as can be seen in The Tinker 18
Art at the Slade School in London from 1876 — 1893, he made a dynamic impact
on British
art education both as a painter and etcher, and exerted a decisive influence on the representation of peasant life as can be seen in The Tinker 18
art education both as a painter and etcher, and exerted a decisive
influence on the representation of peasant life as can be seen in The Tinker 1874.
Wesselmann speaks of his family, childhood and
education; his U.S. Army service; his early interest in
art and drawing; the
influence of humor; going to the Cooper Union School
on the GI bill; artists who
influenced him in his early career; experiences which changed him; early experiments with collage; his first awareness of pop
art; collage technique; his affiliation with the Tanager Gallery; his early nudes; eroticism in his paintings; politics and
art.
Art school was an important
influence on Latham, where his tutors included Henry Moore, yet for him the structures of
education inhibited production of knowledge.
Kainen's self -
education in museums and libraries, where he studied the work of Rembrandt, Diego Velázquez, John Constable, and Paul Cézanne, among others, had a more profound
influence on his
art than his early classes at the Art Students League and Pratt Institu
art than his early classes at the
Art Students League and Pratt Institu
Art Students League and Pratt Institute.
Prager draws inspiration from the cinematic work of Alfred Hitchcock and Luis Buñuel and the
art of such photographers as William Eggleston or Enrique Metinides, but also frequently cites the major
influence her unconventional
education has had
on her own artistic practice, which combines the use of bold colors, unexpected angles and dramatic lighting.