This document discusses Portuguese painter and potter Manuel Cargaleiro. It notes that he studied ceramics in Italy and France on scholarships, and developed his work further at the Gien Faience Factory in France, sponsored by the Calouste Gulbenkian Foundation. As a painter, Cargaleiro was known for his ornamental and decorative style in two-dimensional works like Portuguese tiles, and as a potter he is considered an artist for his signed and dated tiles.
Tomas Castaño was born in Santander (Spain) in 1953. From a young age shows a special inclination towards drawing, but until the age of 17 years he does not take the first brushes and start painting. Self-taught, Tomas carved himself, based on determination and enthusiasm. He has a realistic style, his paintings are very well drawn and he also worries for the composition and perspective of his works. He is a landscape artist but characterized by his architectural work.
His work is characterized by a serene and poetic realism, which translates the artist's delight when he paints streets of old quarters, antique buildings and facades with tradition. His paintings catch the magic of the aesthetics of the antiques, and transmit all the warmth and humanization of unprocessed environments by modern life.
He has shown his work in group exhibitions in several countries such as Germany, Netherlands, USA, France, Argentina, Japan, Italy, Korea and numerous solo and group exhibitions in Spain. Tomas Castaño works represented Cantabria in the Florence Biennale in the 2005 edition.
His work is recognized by the distinctive style and ambience that he creates in finishing his series of old taverns.
His work is in the following public collections.
Hotel Central, Santander, Spain
Hotel Palacio de Mar, Santander, Spain.
Castro Urdiales City Townhall, Castrourdiales, Spain
Villanueva de Villaescusa City Townhall, Villanueva de Villaescusa, Spain.
CC.OO Headquarters, Santander, Spain.
His works are in private collections of Spain, France, Puerto Rico, USA, Costa Rica and Korea.
In 2012 he was invited by The General Electric Company, USA to take part of the exhibition GE's 2012 Hispanic Heritage Month Art Exhibition.
He was invited by the Bellarte Gallery Seoul-Korea to participate in the Ibero-American Art Fair Seoul 2012 and 2013, showing his work along with works of the prestigious artists such as Fernando Botero, Oswaldo Guayasamin, Rufino Tamayo and Roberto Fabelo
Tomas Castaño was born in Santander (Spain) in 1953. From a young age shows a special inclination towards drawing, but until the age of 17 years he does not take the first brushes and start painting. Self-taught, Tomas carved himself, based on determination and enthusiasm. He has a realistic style, his paintings are very well drawn and he also worries for the composition and perspective of his works. He is a landscape artist but characterized by his architectural work.
His work is characterized by a serene and poetic realism, which translates the artist's delight when he paints streets of old quarters, antique buildings and facades with tradition. His paintings catch the magic of the aesthetics of the antiques, and transmit all the warmth and humanization of unprocessed environments by modern life.
He has shown his work in group exhibitions in several countries such as Germany, Netherlands, USA, France, Argentina, Japan, Italy, Korea and numerous solo and group exhibitions in Spain. Tomas Castaño works represented Cantabria in the Florence Biennale in the 2005 edition.
His work is recognized by the distinctive style and ambience that he creates in finishing his series of old taverns.
His work is in the following public collections.
Hotel Central, Santander, Spain
Hotel Palacio de Mar, Santander, Spain.
Castro Urdiales City Townhall, Castrourdiales, Spain
Villanueva de Villaescusa City Townhall, Villanueva de Villaescusa, Spain.
CC.OO Headquarters, Santander, Spain.
His works are in private collections of Spain, France, Puerto Rico, USA, Costa Rica and Korea.
In 2012 he was invited by The General Electric Company, USA to take part of the exhibition GE's 2012 Hispanic Heritage Month Art Exhibition.
He was invited by the Bellarte Gallery Seoul-Korea to participate in the Ibero-American Art Fair Seoul 2012 and 2013, showing his work along with works of the prestigious artists such as Fernando Botero, Oswaldo Guayasamin, Rufino Tamayo and Roberto Fabelo
Life and times of one of Columbia's best loved painters. He followed in the footsteps of Diego Rivera before developing his own idiosyncratic style. This was a presentation delivered by Marina Medina as part of a project at South Thames College.
This is an interactive power point that gives a brief history of the artist Joan Miro. It also provides various examples of his work throughout his career.
La femme en rouge30 Luis Cohen Fuse (1944-2019)sandamichaela *
Multidisciplinary artist has worked in all type of supports and materials: painting mural and of easel, painting in tiles, design of jewels, conception of spaces, sculpture, etc... He is an accomplished muralist and figurative painter. Born in 1944 in Buenos Aires, Argentina. The artist lives and works in Estoril, Portugal.
Studied ceramics and printmaking at Art School in Mar del Plata, Argentina. Graduated in Architecture from the National University of Buenos Aires, Argentina. Studied engraving and lithography in the Fine Arts School of Barcelona, Spain. His works have been shown at Solo Exhibitions in New York, San Francisco, Canada, Spain, Portugal and another countries. He has also participated in more than 60 Collective Exhibitions in Argentina, Brazil, USA, Venezuela, Belgium, Spain and Portugal.
Life and times of one of Columbia's best loved painters. He followed in the footsteps of Diego Rivera before developing his own idiosyncratic style. This was a presentation delivered by Marina Medina as part of a project at South Thames College.
This is an interactive power point that gives a brief history of the artist Joan Miro. It also provides various examples of his work throughout his career.
La femme en rouge30 Luis Cohen Fuse (1944-2019)sandamichaela *
Multidisciplinary artist has worked in all type of supports and materials: painting mural and of easel, painting in tiles, design of jewels, conception of spaces, sculpture, etc... He is an accomplished muralist and figurative painter. Born in 1944 in Buenos Aires, Argentina. The artist lives and works in Estoril, Portugal.
Studied ceramics and printmaking at Art School in Mar del Plata, Argentina. Graduated in Architecture from the National University of Buenos Aires, Argentina. Studied engraving and lithography in the Fine Arts School of Barcelona, Spain. His works have been shown at Solo Exhibitions in New York, San Francisco, Canada, Spain, Portugal and another countries. He has also participated in more than 60 Collective Exhibitions in Argentina, Brazil, USA, Venezuela, Belgium, Spain and Portugal.
The artworks in the Galleria Nazionale dell’Umbria are displayed on the upper floors of the Palazzo dei Priori, Perugia, Italy.
Its collection is one of the most exhaustive and complete in the Region for the multiplicity and variety of its are works, which cover a period from the 13C to the 19C. Some of the artists included are Master of San Francesco, Armolfo di Cambio, Nicola and Giovanni Pisano, Duccio di Buoninsegna, Gentile de Fabriano, Fra’ Angelico, Benozzo Gozzoli, piero della Francesca, Agostino de Duccio and Grancesco di Giogio Martini. In addition, there are many works by Perugino, Pintoricchio, Orazio Gentileschi, Pietro da Cortona, Valentin de Boulogne, Sebastiano Conca, Pierre Subleyras and Jean Baptiste Wicar. Many of the paintings were by artists were born in the city of Perugia.
The collection primarily is primarily makes up of religious paintings on the running up, during and after the Age of Renaissance. The majority of the works stilted toward the Renaissance from the end of 13C though to the early 15C. Many of these exhibits are diptychs, triptychs or polyptychs. These are the kind of paintings that the ordinary Italian of the time were likely to encountered, in their daily life.
“Like other regional museums in (France), the Lyon Museum of Fine Art was founded immediately following the French Revolution. In accordance with the ideals being promoted at that time, the works of art confiscated during the Revolution were to be conserved and made accessible to as man as possible. They were also to bolster the Lyon silk industry by providing study models for the factories’ artisans and designers.
More than two hundred years later the collections’ encyclopaedic orientations has made the Lyon Museum of Fine Arts one of the foremost museums in France…..”
· Art Nouveau. French, new art. A late-19th- and early-20th-.docxoswald1horne84988
· Art Nouveau
. French, "new art." A late-19th- and early-20th-century art movement whose proponents tried to synthesize all the arts in an effort to create art based on natural forms that could be mass produced by technologies of the industrial age. The movement had other names in other countries: Jugendstil in Austria and Germany, Modernism in Spain, and Floreale in Italy.
· Color
. The value or tonality of a color is the degree of its lightness or darkness. The intensity or saturation of a color is its purity, its brightness or dullness. See also primary, secondary, and complementary colors.
· Complementary colors
. Those pairs of colors, such as red and green that together embrace the entire spectrum. The complement of one of the three primary colors is a mixture of the other two.
· Divisionism
. A system of painting devised by the 19th-century French painter Georges Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image becomes comprehensible only from a distance, when the viewer's eyes optically blend the pigment dots. Sometimes referred to as divisionism.
· Impressionism
. A late-19th-century art movement that sought to capture a fleeting moment, thereby conveying the illusiveness and impermanence of images and conditions.
· Japonisme
. The French fascination with all things Japanese. Japonisme emerged in the second half of the 19th century.
· Modernism
. A movement in Western art that developed in the second half of the 19th century and sought to capture the images and sensibilities of the age. Modernist art goes beyond simply dealing with the present and involves the artist's critical examination of the premises of art itself.
· Optical mixture
. The visual effect of juxtaposed complementary colors.
· Plein air
. An approach to painting much popular among the Impressionists, in which an artist sketches outdoors to achieve a quick impression of light, air, and color. The artist then takes the sketches to the studio for reworking into more finished works of art.
· Pointillism
. A system of painting devised by the 19th-century French painter Georges Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image becomes comprehensible only from a distance, when the viewer's eyes optically blend the pigment dots. Sometimes referred to as divisionism.
· Post-Impressionism
. The term used to describe the stylistically heterogeneous work of the group of late-19th-century painters in France, including van Gogh, Gauguin, Seurat, and Cézanne, who more systematically examined the properties and expressive qualities of line, pattern, form, and color than the Impressionists did.
· Primary colors
. Red, yellow, and blue the colors from which all other colors may be derived.
· Simultaneous contrasts
. The phenomenon that juxtaposed colors affect the eye's reception of each.
How to Make a Field invisible in Odoo 17Celine George
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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.
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.
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Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
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This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
2. Portuguese painter and potter
Born in Vila Velha Rodão in
1927
3. Career development
He attended the Science College in Lisbon
University, as well as free classes at the
Academy of Fine Arts and José Trindade
Pottery Study
He was a teacher of ceramics at the School
of Decorative Arts António Arroio.
Escola de
Artes
Decorativas
António Arroio
4. He studied ceramics in Faenza, Rome
and Florence with an Italian
Government scholarship.
He developed his work later in Gien
Faience Factory in France, sponsored
by the Calouste Gulbenkian
Foundation.
5. His Paintings…
In his paintings we can distinguish an
ornamental and decorative sense, the
choice of two-dimensionality and the denial
of depth.
He produced earthenware squares, the
Portuguese Azulejo (tiles), an art that still
has its importance in Portugal, brought by
the Arabs to the Iberian peninsula.
6. The spontaneity of brushstroke dominates
in his tiles.
His signed and dated tiles are considered
real pieces of art.
7. His work…
Cargaleiro’s work shows the extraversion,
brightness, optimism and sensuality of the
Mediterranean character.