Creative Evolution In The Form Of A Bull In The Painting Guernica | ||
| Basic Education College Magazine For Educational and Humanities Sciences | ||
| Article 1, Volume 0, Issue 17, May 2018, Pages 579-598 | ||
| Authors | ||
| Fatima Omran Raji; Rana Hussein Hatif; Ali Hussein Hatif | ||
| Abstract | ||
| Innovates Art whole images or two to affect the space visible and embodied forms function and signs of aesthetic, and this implies that delve into the midst of the structures formalism to represent this Mahsusat visual iconic based on creativity (artistic) and the extent of updating it fact or repudiated in the formulations for the production of artistic effects with meanings and connotations aesthetic . It is because of artistic creativity _ away from any philosophical currents of modern structural and beyond _ in the nature of the relationship between Tsahria three main pillars are: - Upstream: a fact which draws him Artist article. - Product: here, a performance artist and Njaath and footwork. - Receiver: It is the future of aesthetic and artistic values. This invites controversy tracing subject and object, it has formed a dialectic of subject and object location and unit membership stimulating creativity and supportive of the development of the structure of the art form. If we look at the form of the bull in Guernica (Picasso), to show us that the system of art in its development stage successive shipped with the artist (Picasso) in order to innovate in response to the call of his mind, an honorable and humanity as a whole. And it became aware of the aesthetic and psychological studies to monitor creativity (artistic creativity) as a field a knowledge in the field of art as well as in some other fields of knowledge. | ||
| Keywords | ||
| Creative Evolution In The Form Of A Bull In The Painting Guernica | ||
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