Self-portrait drawing and self-referentiality
Educational proposals based on the arts as a means for the analysis of identity
DOI:
https://doi.org/10.17561/rtc.extra8.8543Keywords:
Drawing, LGBTIQ+, Portrait, Art, Self-referentiality, Identity, EducationalAbstract
Art is not born from art alone, knowledge of things is, in most cases, the starting point of a more eloquent artistic practice. The content of a work always comes from the approach and how it is shown. Oral language is the first step to specify what you want to show with plastic language.Art does not arise just from art, knowledge of things is in most of the cases the starting point for a more eloquent artistic practice. The content of a work always comes from the approach and how it is presented. Spoken language is the first step in specify what one wants to convey through visual language.
The spontaneity of painting something they have seen before, their portrait, ensures that the idea of it exists only in their mind. Therefore, the outcome will stem from knowledge but without the ability to consult photographs of themselves. Artistic precedents will help to initiate the reflection that will start from reality and from the understanding of different realities within the LGBTQ+ community.
Downloads
References
• Arnheim, R. (1986). El pensamiento visual. Paidos Iberica Ediciones S A.
• Arnheim, R., & Balseiro, M. L. (1999). Arte y percepción visual: psicología del ojo creador. Nueva Versión.
• Candel, F. M. (2018). Educación en diversidad sexual a través de las artes plásticas. Pulso: revista de educación, (41), 85-103. file:///C:/Users/sofia/Downloads/Dialnet-EducacionEnDiversidadSexualATravesDeLasArtesPlasti-6742344%20(2).pdf
• Chaves, J. R. (2000). Vampirismo y sexualidad en el siglo XIX. Anuario de Letras Modernas Volumen 9, México 1998-1999, Universidad Nacional Autónoma de México Facultad de Filosofía y Letras, México 2000. http://ru.ffyl.unam.mx//handle/10391/1548 https://doi.org/10.22201/ffyl.01860526p.1999.9.835
• Dondis, D. A. (1992). La sintaxis de la imagen: introducción al alfabeto visual. GG.
• García, L. M. M., & Pérez, R. G. (2002). Las Artes Plásticas y Su Función en la Escuela. Ediciones Aljibe, S.L.
• Kohan, S. A. (2013). Los secretos de la creatividad. ALBA Editorial.
• Preciado, P. B. (2020). Yo soy el monstruo que os habla: Informe para una academia de psicoanalistas. Anagrama.
• Robinson, K. (2015). Escuelas creativas: la revolución que está transformando la educación. Debolsillo.
• Torres Rodríguez, D. I. (2015). La Evolución de la Imagen del Vampiro en la Literatura y el Cine de los Siglos XIX, XX y XXI.https://www.repositorioinstitucionaluacm.mx/jspui/bitstream/123456789/574/3/Diana%20Iv%C3%B3n%20Torres%20Rodr%C3%ADguez_LCL.pdf
Downloads
Published
Issue
Section
License
Copyright (c) 2024 Sofía Carrillo Cabezas, Isabel María Alor Calero
This work is licensed under a Creative Commons Attribution 4.0 International License.
Those authors who have publications with this magazine, accept the following terms:
The authors will retain their copyright and will guarantee to the journal the right of first publication of their work, which will be simultaneously subject to the Creative Commons Attribution License that allows third parties to share the work whenever their author is indicated and its first publication is this journal.
Authors may adopt other non-exclusive license agreements to distribute the version of the published work (eg to be deposited in an institutional telematic file or published in a monographic volume) provided the initial publication is indicated in this journal .
Authors are encouraged to disseminate their work via the Internet (eg in institutional telematic files or on their website) before and during the submission process, which can produce interesting exchanges and increase the number of citations of the published work..
In case of being accepted works will be published under Creative Commons license.
