But since we decided to look at the painting in front, do not hesitate to go through the trouble.

Le Gal, from the perspective of self-management. http://www.icem-freinet.fr/archives/educ/74-75/13/11-12.pdf Author: Jean Le Gal Print
8 Results Editorial CREU Freinet # 4 in 3rd quarter of 1977: a school level> Higher Education and Research Center of University Study CEL For teachers journal Education and Research> Research> Educational Sciences Education and Research> Research Training and Search> Search> theory and practice in January 1977 Authors: Jean Laffitte and Rene Roucaute more tHEORY aND pRACTICE or new discourse on method in: Center for research and Academic Study CEL for teachers journal Education and research> research> theory and practice in January 1976 tHEORY aND pRACTICE or new discourse of the method (1) Author: Michel Launay more Practitioners and researchers the common perspectives?

In: Center for Research and Academic Study CEL For teachers journal Education and Research> Research Training and research> Research> theory and practice in July 1978 Quarterly Review of the Research Center and Technical Exchanges University Freinet 8 3rd quarter of 1978 edited by CEL in Cannes Author: Michel Barre more adult education and pedagogy Freinet in: school level> training research Center adult and academic Study CEL for teachers journal training and research> training June 1977 quarterly review research Center and technical exchanges University Freinet 2 Author: Xavier Nicquevert more kinship action research groups and technical Freinet in: school level> second degree> College Center for research and Study university CEL For teachers journal Education and research> research Movements> soft tively Freinet> Technical Freinet January 1977 Quarterly Review of the Research Center and Technical Exchanges University Freinet 3 Author: Henry Desroches More Freinet pedagogy and university education in: school level> Higher Education and Research Center University of CEL Study for teachers journal Education and research> research in May 1976 I Author: Michel Barre more teachers and researchers in: Center for research and Academic Study CEL for teachers journal Education and research> research> science education Training and research> research Training and research> research> theory and practice in July 1978 quarterly Review of the research Center and technical exchanges University Freinet 8 3rd quarter of 1978 published by the CEL Cannes Author: Roger Favry Learn Two more science to challenge today … in: recherc Center he University and CEL For Teachers Study journal Education and Research> Research> Educational Sciences Education and Research> do my english assignment
Research in January 1978 Two sciences challenge today …

Guy Leroy Review CREU Freinet 8 3rd quarter 1978 Cannes CEL Author: Guy Leroy Read more
In: The children’s art educator CEL For teachers review teaching techniques> Technical Plastic Arts in March 1975 currently at the Modern School, an important discussion is bouncing about children’s art. We hear, for example: “Why choose the beautiful? First, the beautiful, what is it? It would define it.

From the master, how to take it? Is the master does not sometimes trying to find personal pleasure? So what ? Fortunately there are pleasures to introduce in its class … But is it would not be simpler and more honest to leave children free? But left free children do this are not children abandoned to their packaging?

The children’s art, what’s the point? The art is a bourgeois thing. I do not have a culture, I’m bad, how do you, “etc., etc. It is certain that there are not problems of thin.

They have for us the importance because the Modern School has always had concern for art and creation. But you can simply enter a small side: take the whole. Also, make the effort to face them once and for all. We need to begin to ask the question: what to paint?

Although I am a layman, I sketch an answer by trying to identify the maximum number of elements. is deposited in one way or another, on a support which retains the, fluid pastes which cure as it dries. Let this sentence, line by line. this file is in one way or another. This can be: Apply by brush end, close by brushing, large brush, for finger, hand, foot, pad, cloth, cotton, potato …

It can be: run, throw, flow, spray, slide, petting, rubbing, by violent acts by delicate and minute keys, roughness, by tenderness … It can be: thin layer, thick film, in points, spots, in large surfaces, fine lines, lines, in tapes, embossed hollow. This can be: alone in the solitude of a room, a workshop or a landscape, in the silence, music or noise, the bustle of a class or two, five, ten on one or more carriers.

This can be: by juxtaposition, superposition, fusion, mixing … all of a jet or endless times by dazzling or calm continuity crises, by inspiration, by breeding, by chance, by reaction. This can be: by gesture, dance, quasi immobility. on a support that holds them.

It may be: a smooth paper support, grain paper, cardboard, wood, ply-against, linen, jute, silk, plastic, concrete, cement, plaster … this can be: on tiny size, 50 x 65, 100 x 60, of 225 x 130, a are on a film slide on film cinema as technical magic transform, execution latency that does not deliver by transmutation. This can be: on objects that can happen in the oven at over a thousand degrees.

This can be: on volumes, walls, statues, pottery; thousand objects, neutral support and pretexts for valuation of painting or, in -contraire delicate and modest complement of form. This fluid pulp can be: inks, pastes, plastics, earth, oxides, varnishes, materials which are added turpentine or medium, matt material, material that catch the light .. . that harden as it dries. And then sometimes permanently fix the work but often times of repentance is possible.

The colors can lose their shine or even tone with time. Of course, we did not! Lap ways of painting. But the key is there. The inventory is detailed enough that we seize on. Of course it is annoying. But since we decided to look at the painting in front, do not hesitate to go through the trouble. Now, we have to ask a second question: Why paint? I think this view of Freud: there is no fixed erogenous zone: all part of the human body can become erogenous zone.

Almost always for reasons out of control and have their roots in childhood. Well, painting is the same; the sources of the most intense pleasure are sometimes the most unexpected. It can even be located at the lower part of the act of painting.

This is why the list had to be long. For that we understand that there is no higher or insignificant element. All can take equal importance. And it has great importance pedagogically. But be aware that the anchor points of pleasure can be diversified to infinity, it can itself be of various kinds: instinctual or sensual, intellectual, relational, economic, plastic, political, psychological …

Here, I was listening to programs on the impressionists: precise and clear look, emotion and science and about Renoir pleasure of painting. At fourteen, he received the shock of the nymphs of the Fontaine des Innocents Jean Goujon. At sixteen, when he had become a porcelain painter, he runs in the masters in the Louvre.

The Diana bathing Rubens enchants because he discovers the plastic beauty of the female body. Renoir painting is sensual. “If there had been no nipples, I would never have painted figure. “” I do not paint abruptly. I caress, I ball a table. “” When I painted a buttock and I want to slug it is that it is over. “That’s Renoir.

But it would listen to other painters to know how many are the reasons that we have to get in paint.

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