Ο χαράκτης Κεφαλληνός και το εργαστήριό του: οι αισθητικές και παιδαγωγικές αντιλήψεις του

Abstract

Κεντρικό σημείο αναφοράς αυτής της διδακτορικής διατριβής αποτελεί ο εντοπισμός της προσωπικής οπτικής και της εξατομικευμένης εργασίας του εκάστοτε μαθητή του Εργαστηρίου του Κεφαλληνού. Γεγονός που αποδεικνύεται από την έντονη απόκλιση της καλλιτεχνικής διαδρομής των καλλιτεχνών – μαθητών του Εργαστηρίου του Κεφαλληνού, τόσο μεταξύ τους, όσο και μεταξύ της δουλειάς του ιδίου του δασκάλου τους. Αυτός είναι ένας από τους σημαντικούς παράγοντες, που κατέστησαν μοναδικό και άξιο μελέτης το Εργαστήριο αυτό. Οι μαθητές πειραματίστηκαν με νέες τεχνικές, διακρίθηκαν, έλυσαν τεχνικά προβλήματα και παρουσίασαν έργο ξεχωριστό και πρωτοποριακό, το οποίο αποδεσμεύτηκε από την συγκεκριμένη, αποκρυσταλλοποιημένη επιδεξιότητα της δουλειάς του δασκάλου τους. Παράλληλα στο πόνημα αυτό γίνεται για πρώτη φορά υπεύθυνη, αναλυτική καταγραφή με γνώμονα τον διακειμενικό έλεγχο όλων των ονομάτων των μαθητών του Εργαστηρίου του Κεφαλληνού, με τρόπο συστηματικό & επιστημονικό, βασισμένο στις πρωτογενείς πηγές, προσφέροντας νέα γνώση. Επίσης μελετήθηκε το μέγεθος της παιδαγωγικής προσφοράς του Κεφαλληνού, τόσο στην εξέλιξη & στη διαμόρφωση του έργου των μαθητών του, όσο και στην διάδοση της χαρακτικής τέχνης. Επιπλέον το Εργαστήριο του Κεφαλληνού συνέβαλε στη συστηματοποίηση της μελέτης των τεχνικών σε όλες τους τις μορφές. Η έρευνα αυτή αποπειράται να ανοίξει ορίζοντες αλλά και να θέσει νέα ερωτήματα, να δημιουργήσει καινούργια πεδία περαιτέρω διερεύνησης των διακλαδώσεων του θέματος, αλλά και να διευρύνει τον χώρο της έρευνας που παράγει.

The central reference point of this PhD thesis is the identification of the personal view and the individual work of every artist of the Kefallinos Workshop. This fact is evidenced by the personalized career of each artist. Their work is separated both among themselves and between the works of their own teacher. This is one of the important factors that made it unique and worthy of studying this workshop. Students experimented with new techniques, excelled, resolve technical problems, and presented work distinctive and pioneering, which was free from the specific skills of their master's work. At the same time, this is a first-time, responsible and analytical register, based on the inter-disciplinary control of all the students' names of the Kefallinos Workshop, systematically and scientifically. The research is based on Science & primary sources, offering new knowledge. Also studied the size of the pedagogy of quote Kefallinos, both in development project configuration, and in the dissemination of art engraving. In addition the workshop of Kefallinos contributed to systematize the study of techniques in all their forms. Education through art and vice versa is very important. There are fostering values and disciplines essential for full intellectual, emotional and social development of the human being in a community. Development is not only synonymous with technological and economic gains. On the contrary it is inseparable from culture. By placing culture at the heart of the education we invest in the world’s future. Through art it is possible the share of experiences, as well as the improvement of new practices. The art has the power to touch both our feelings and intellect. Art makes us think in new ways. Cooperation in education and training improves competency, cultural awareness and creativity. Arts education helps to uphold the human right to education and cultural participation, as well as develop individual capabilities, improve the quality of education, promote the expression of cultural diversity and heighten the ethical awareness. The art can challenge positive notions. The effort to develop public awareness about artistic, aesthetic, cultural, political issues, not only at the initiate elite but also to wider audience with a progressive pedagogy is an interesting undertaking. This research attempts to open horizons but also to raise new questions, create new fields of further exploration of the ramifications of the subject, but also to broaden the field of research that produces.

Why engraving? The art of engraving is perhaps the least endearing, or less "glamorous" than the so-called fine arts. This could be attributed possibly to the fact that the produced pieces are not unique, but pieces created on a wider scale and in a certain number. But they are always works of art and here lies the paradox of it. The engraver creates an original artwork by making a matrix, so the engraving (etching) is no different from painting, as they have the same baseline status, which is unique. Depending on the current technique of engraving that is used, a series of engravings is produced. This production, however, does not alter the originality of the matrix. The main difference of engraving from the other arts is that several people can get this artistic creation. Various techniques such as (lithography, engraving, woodcut) can maintain, according to Benjamin, the directness of expression and also they are imprinting the psychological state that the artist wants to depict just as in sculpture and in painting. The engraving, to achieve the desired result, requires among other factors a high level of competence by the artist of various techniques. Engraving, claiming a profile of autonomy over the painting and sculpture, enhances its value and uniqueness.