Kurt Wenner is an artist who specializes in classical Renaissance styles. He studied at RISD and Art Center College before working for NASA. He moved to Italy to study classical art forms, drawing from sculptures and experimenting with techniques like tempera, fresco, and oil painting. Wenner invented anamorphic street painting and has created large public works around the world. He now designs architecture and interiors in addition to paintings, integrating classical techniques.
HUMAN100: Introduction to Humanities --- The Visual Arts: Painting. This Includes the ff:
1. History of Painting
2. Styles/ Art Movements in Painting
3. Famous Painters (Renaissance to Modern Art)
Visual Arts in the Classroom. Painting and Drawing, by Angela Clarke. Submitted as part of a Postgraduate Masters in Art & Design Education at NCAD, Dublin, Ireland
HUMAN100: Introduction to Humanities --- The Visual Arts: Painting. This Includes the ff:
1. History of Painting
2. Styles/ Art Movements in Painting
3. Famous Painters (Renaissance to Modern Art)
Visual Arts in the Classroom. Painting and Drawing, by Angela Clarke. Submitted as part of a Postgraduate Masters in Art & Design Education at NCAD, Dublin, Ireland
This is the first powerpoint presentation I give during the beginning digital photography class. I use it to familiarize students with their point and shoot digital cameras and the controls and functions of the camera.
This is the first powerpoint presentation I give during the beginning digital photography class. I use it to familiarize students with their point and shoot digital cameras and the controls and functions of the camera.
the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.
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REPLY TO THE DISCUSSIONS· DIS 1Trace the evolution and dev.docxchris293
REPLY TO THE DISCUSSIONS
· DIS 1
Trace the evolution and development of art through the periods of the Early Renaissance to the High Renaissance.
· Explain what primarily distinguishes Renaissance art in general from the prior period.
· Compare and contrast the work of an Italian Renaissance artist with a work done by a northern European Renaissance artist, considering style, content, and form.
· Include a discussion of the different concerns and heritages of the Italian and Northern Renaissance artists and how these resulted in different characteristics in the art work of each region. Be sure to use the new art vocabulary you are learning as you describe the artworks.
RELAY TO:
Norfleet
Week 3, Discussion 1
COLLAPSE
Top of Form
During the Renaissance period lots of changes were made within the world of art and the concept of it all. During that period so many new ways and concepts of how art was done, whether it be sculptures, paintings, or any other type of art. Renaissance art differed from the prior period, because a lot more architecture was being created and had a whole new perspective and deeper sense of dimensional effects.
The work between an Italian Renaissance artist and a Northern European Renaissance artist contrast by, focusing on the different details and abilities when it came to their art. Italian artist liked to focus and understand more of the human anatomy aspects of the art, and the northern focused more on surface details and naturalism. The northern also like to focus on portraits, while the Italian focused more on classical mythology. The Italian and northern European artist compared by, both focusing on religious scenes of art and glorifying the power of God. They both also focused on making paintings and different art more realistic.
The different concerns and heritages of the Italian and Northern Renaissance artists that resulted in the different characteristics would be, the way both of them viewed and had a perspective on how their own art should be. Both worshiped and focused a lot towards the higher power and God, but at the same time even has nudity within their different artworks.
RELAY TO:
Harrison
Week 3 Discussion 1
COLLAPSE
Top of Form
Within art, the earliest century of the Renaissance has many differences from previous periods of time. During the Renaissance time period, the artist focused on recreating nature in the form of art and primarily focused on the underlying beauty of nature and how nature plays a vital role in the day to day life. Renaissance art is one of the only types of art that does not focus or generate ideas from religion but rather focuses on the idea of real-life and the linear perspective. The Early Renaissance began in Italy, which led to the realism aspect that would eventually become the center of Renaissance art. Beginning in the 14th century, the artist Masaccio was the most popular artist during this time. Masaccio became famous for his work within churches, specifical.
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Merging Traditional "Uli" Painting Techniques/Symbols and Computer Graphicsikennaaghanya
For many in the South Eastern part of Nigeria, Digital Art is rapidly becoming the preferred medium to produce poster designs and digital paintings. With a mouse, appropriate software and hardware, monitor, a scanner and a laser printer, one can control a project from start to finish. Traditional “Uli” Body Painting techniques/symbols at the same time, are visual media, which the writer describes as static media (i.e. it can only show snapshots), but it can be enhanced by stylistic elements of a metalanguage to produce the visual impression of dynamics. The viewer's imagination is asked to interpret these symbols and to change the meaning of objects actually shown. “Uli” is an expression of the Ibo people’s capacity for creative body design, which is firmly rooted in their myths and their experience of life in the past, present and future. At its best, it is an expression of their synthetic present, the epic of their search for a new order in the contemporary world. Unfortunately, the “Uli” Traditional Body Painting technique is gradually fading away, as well as the use of the Uli symbols. The emphasis of this paper is to identify the advantages in merging the use of Digital Arts and “Uli” Traditional Body Painting techniques/symbols in producing social awareness themed painting/poster designs and sculptural pieces in Nigeria, with particular reference to the Ibo people of the South Eastern Region of Nigeria. This way, the poster/painting will not just serve as a communicative medium but also as a work of Art (in terms of its aesthetic qualities) and the Uli symbols can as well be preserved.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
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Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
1. Artistic Statement & Biography
I
Artist Architect
Kurt Wenner attended Rhode Island School of Design and Art Center College of
Design before working for NASA as an advanced scientific space illustrator. Wenner
eventually left NASA for Italy in order to pursue his love of classical art.
My interest in Renaissance classicism started with the simple desire to
draw well. I was struck by the vast difference between how students
and teachers drew in the 20th Century and the way artists drew 500
years ago. It seemed to me that artists of the past had abilities far
beyond those of today. My curiosity about this discrepancy took me to
Rome in order to seek out and master drawing and painting within the
“language” of western classicism. During this time I isolated myself from
20th century art in order to explore the ideals and concepts practiced in
earlier centuries. It has since become an ongoing mission to rediscover
classical traditions and communicate them to a contemporary audience.
Palazzo Ducale, In the spring of 1982, Wenner moved to Rome. He studied the works of the great
Mantua, Italy
masters and drew constantly from classical sculpture. The drawings he made brought
him in touch with the language of form in Western figurative art and provided him with
the neoclassical training necessary for the style he was pursuing. Through his studies
he became particularly interested in the Mannerist period, finding in the monumental
scale and sophisticated decoration a direction for his own artistic expression. For
Senaca, several years Wenner traveled extensively in order to experience firsthand most of
Naples, Italy the major masterpieces and monuments throughout Europe. During these first years
abroad he experimented with traditional paint media such as tempera,
fresco, and oil paint. In order to finance his travels and studies he
became a “Madonnaro” and created chalk paintings on the streets of
Rome. Within several years he had won numerous gold medals at
European competitions and become officially recognized as a master
of this art form. In 1985 his work was the subject of an award winning
National Geographic documentary titled Masterpieces in Chalk.
I am continually challenged to rediscover, transform, and share
neglected ideas of the past. When creating a large work at a public
event I am able to evaluate the reactions of large and diverse audiences.
This information has provided me with invaluable lessons in human
perception. While lecturing on my work or other art-related topics to
professional and amateur artists, as well as art educators, I have had
the opportunity to engage a vast number of people in a dialogue which
has shown me that while my ideas about art, education, and classics are
often markedly different from established views they are nevertheless
welcome. I believe that while the patrimony of great masterpieces from
the classical tradition belongs to history, the artistic process it proposes
is eternal.
2. Eventually, Wenner’s knowledge of Renaissance classicism provided a
foundation for his own art, as well as material for numerous lectures and
workshops given throughout the U.S. A firm believer in arts education,
Wenner taught more than a hundred thousand children over a 10-year
period, and received the Kennedy Center Medallion in recognition of his
outstanding contribution to arts education. He has lectured at corporate
events and conducted seminars and workshops for organizations
ranging from the National Gallery of Art and the Smithsonian Institution
to Disney Studios, Warner Bros. Studios, Toyota, and General Motors.
Because the classical tradition that fascinated me was lost, part of my
Cadillac Group, studies was scholarly. I spent many months looking through libraries and archives for
St. Regis Hotel, texts written centuries earlier on the artistic subjects that most fascinated me. Artistic
Monarch Beach, CA
geometry was the most fascinating subject. It amazed me to learn how ideas and
concepts were transformed through the centuries, sometimes flourishing, sometimes
being lost. In one century theories of proportion are hotly debated; in another they are
ignored entirely. The study of linear perspective is fantastically creative and inspiring
until the invention of photography, when it becomes static and rule-bound.
In 1984, Wenner invented an art form all his own that has come to be known as
anamorphic or illusionistic street painting. The form of perspective known as
anamorphism was used by the great European Masters to give the illusion of soaring
architecture and floating figures in ceiling frescoes. Wenner adjusted this geometry
to create compositions that seemed to rise from and fall into the ground.
In anamorphic perspective, painted forms appear as three-dimensional
when viewed from one point in space. Wenner created a special
pictorial geometry that corrected the specific distortion caused by
viewing his large images at an oblique angle. The number of newspaper
and magazine articles, television spots, ads, and documentaries
featuring his work are too lengthy to list.
Any work of figurative art, even a picture in a frame, employs some
illusion. The two major types of illusion are: conventional and optical.
A framed picture is a conventional illusion. The viewer can choose to
see the frame as a window, a starting point from which to visually enter
Dies Irae, the painted world. This is referred to as “a willing suspension of disbelief.” The frame
Mantua, Italy can also be a border, safely separating the real world from the imaginary. The viewer
recognizes the work as a painting on a wall long before looking at the subject.
Optical illusions blur the distinction between the real and the imaginary, literally
fooling the viewer (trompe l’oeil). I juxtapose both types of illusion in my work. In
photographs of my street paintings, the art can appear as “real” as the audience. I
use the photograph’s “objective documentation” to question if the contemporary world
is really more substantial than the worlds of history and imagination.
Although I employ an arsenal of visual tools to create illusion, the classical language
of form is the most vital. Classicism is vastly superior to other forms of realism for the
creation of illusion, as it is based on human perception. Every stroke has the purpose
of communicating form and space to the viewer. While stylistic references may tie a
work to the 1400’s, Renaissance, or Baroque, illusionism brings it into the present by
creating an optical and geometrical link to the contemporary surroundings.
3. Wenner’s illusionism along with the success of the National Geographic
documentary inspired many communities to create their own street
painting festivals. Wenner worked with the organizers of the first
festivals to prepare the surface and materials, as well as train artists.
Today there are dozens of street painting festivals in the USA and
throughout the world that attract thousands of professional and amateur
artists, as well as children. Millions of spectators have now had the
opportunity to see a live street painting event, or one broadcast on local
and national television.
When Pope John Paul II arrived in Mantua, Italy, Wenner was
commissioned to create an original composition for a 15’ x 75’ street
painting based on the Last Judgment. Under Wenner’s direction, thirty
of Europe’s best street painters worked 10 days to create the work. The
Pope signed the mural, officially recognizing street painting as an official
form of Sacred Art.
Street painting festivals seem to fill a great need for the artists and the
public. The artists are able to set aside their fears and self-doubt and
share the process of creating a work with the public. The public is
delighted to see the process and have it accessible. For decades artists
Last Judgment, have exhibited finished works in art galleries. Art galleries model themselves after
Mantua, Italy museums and present art in a finished form, completely removed from the artist and
studio. Although they seek to give importance to the work by this association, they
often create a wall between the public and the artist. In other centuries artists have
had a more direct link to their public and appear to have benefited from this.
During his first years abroad, Wenner executed several large permanent
works including altarpieces, a family chapel in Puglia, and an entire
church ceiling (6,000 square feet) for the church of St. George near
lake Como. Almost all of his paintings are done on commission and the
majority of them are on a large scale. They can be found in corporate
high-rises, government buildings, hotel lobbies, as well as churches and
museums.
My paintings invite rediscovery of many artistic traditions, as I borrow
from mythology, allegory, literature, and theater. And even if viewers
cannot reference the story it tells, they sense that one exists, thus
stimulating their curiosity. I enjoy teasing my audience with a wealth of
allusions — historical, stylistic, and perceptual. While some recognize
and appreciate the content, others may admire the richly embellished
surfaces or technical virtuosity. Such embellishments allow me to
simultaneously exercise my skills in drawing, painting, and composition
as I manipulate the vast array of materials and techniques the work
requires. I especially enjoy working on large pieces that “encompass’”
Magic Flute, the viewer. Combining painting with sculpture and architecture, I can often blur the
Fresno, CA distinction between them, pushing the limits of forms, techniques and materials and
thereby forcing them to interact in new ways. Perhaps the traditional appearance of
my work is itself my strongest illusion.
4. Wenner’s mural work brought him in touch with architects and clients who were
building large homes in traditional styles. Soon he was asked to create architectural
details, along with vaults and coffers in sculptural relief, as well as figurative sculptures
for exclusive residences. He was finally able to go beyond the two-dimensional world
of paint and canvas, and tie his works into three-dimensional spatial
environments. The decorative arts allowed him to use his studies of
design and geometry as well as master new techniques such as mold
making and casting. For the Villa Zeffiro in Santa Barbara, he was
commissioned to design and paint more than 3,000 square feet of oil
paintings and decorative plaster work. Shortly after its completion, the
villa was featured in Architectural Digest.
During the Renaissance, the so-called decorative arts were considered
the highest form of art — even the Sistine Chapel was considered a
work of this genre. In addition to paintings, murals, and canvases,
the great masters often designed ceramics, tapestries, wood inlay,
silverware, and jewelry. Drawings for their finished works exhibit the
masters’ great enthusiasm and imagination; indeed, sculptors like
Cellini might spend years on a single piece. Many decorative works
designed by the great masters were executed by artisan apprentices
and journeymen, as were paintings and frescoes. Masterful drawings
directed the work. The past several generations of students have not
been taught classical drawing; consequently, few contemporary artists
can design artwork appropriate to traditional-style residences. My years
in Italy have given me a special understanding of and appreciation for
this important heritage. Although I began by creating coffers, moldings,
and architectural details to accompany my paintings and murals, I soon
A Turk in Italy, found great enjoyment in designing them for their own sake. Combining painting
Santa Barbara, CA with sculpture gave me a unique multi-dimensional approach. A very large house
filled with expensive but unrelated objects may ultimately have the appearance of a
furniture store. Likewise, large unadorned spaces can also feel cold and impersonal,
such as many post offices, schools, banks, churches, or hotel lobbies. Unfortunately,
even good design and craftsmanship will not entirely eliminate this effect.
After working many years finishing and decorating homes, it was inevitable that
Wenner would be asked to design them. His years in Italy imbued in him a special
understanding of and appreciation for architecture, as well as the important heritage of
architectural ornamentation.
Wenner has spent the last several years designing large residences. His profound
knowledge of historical geometric techniques and proportional theory allow him to
combine whimsical and eclectic projects with rigorous organization. He employs
symmetrical and functional floor plans, which are tailored to accommodate coffers and
vaults. Wenner’s vast experience with materials and techniques give him complete
flexibility of design. By designing and executing all the details of a house, including
columns, capitals, moldings and facings he achieves a full range of artistic expression.
The elevations employ a unique system of proportion that insures a harmonious
composition of the decorative elements. Wenner employs modern technologies and
materials such as cast stone and resin to create a variety of faux surfaces to appear
5. as mosaic, quarried stonework, and fossilized stone. Details can be
delicate and precise, yet appear ancient, weathered, and hand crafted.
Architecture provides me with the ultimate means to combine my
different areas of study. When I design a residence I like to think of it as
a unified vision. I want it to express the optimism and exuberance that
I try to achieve in my painting. The goal of my work has always been to
alter and manipulate the environment. I want the work to “encompass”
the viewer rather than sit tentatively in a frame. I try to create spaces
in which people can live within a work of art, becoming part of the
rich cultural continuum that the classical tradition proposes. Whether
simple and devout, natural and rustic, or audaciously sumptuous, I
Villa Te, work to bring large spaces to a human scale. And while understatement and subtlety
Santa Barbara, CA
provide the background for all art, they should come as the result of positive aesthetic
decision-making, rather than out of fear or timidity. Architecture should reflect the
interests, tastes and desires of the client and communicate them to guests and
visitors.
Currently, Wenner spends his time working in all the various disciplines he has come
to love. His illusionistic paintings are increasingly popular with corporate clients and
advertising agencies. His images have been used in print ads, television spots, and
point of sale displays. Corporate clients have included: Absolut Vodka, Amp’d Mobile,
BMW, Cadillac, Champion Sportswear (Italy), Dunkin’ Brands, Hampton Inn, Knorr
Soups (Canada), Kraft Good Seasons, Lexus, Lincoln, Lucky Strike Racing (Formula
1), Microsoft, Party Poker.com, Schick, Toyota, and the Washington Lottery.
Public event sponsors include: The Allen Theater in Cleveland, Ohio, Burgos Centro
Historico in Spain, The Calgary Stampede in Canada, The Cherry Creek Arts Festival
in Denver, Colorado, The Detroit Festival of the Arts in Michigan, The Frist Center in
Nashville, Tennessee, Good Morning America in New York, The Houston
Museum of Art in Texas, Huis Ten Bosch in Japan, The Pittsburgh
Cultural District in Pennsylvania, Salamanca Centro Historico in Spain,
The Southern Theater in Columbus, Ohio, and The Crawfish Festival in
Woodbine, Georgia.
From the beginning of my career, my main artistic motivation was to
rediscover, transform and share neglected ideas from the past. I have
been fortunate to be able to share my work with millions of people. I
hope that my work will eventually inspire other artists to learn more
about the vast and rich patrimony of European Art, so that others can
enjoy the wealth of ideas that is often hidden with the passage of time.
Absolut Wenner,
West Hollywood, CA