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Diplominio darbo tema - „Vasaros harmonija“. Darbo tikslas – tapybos darbe atskleisti savo patirtas emocijas, spalvų pagalba perteikti gamtoje vyraujančią harmoniją, ritmą, nuolat kintančias šviesos ir spalvų savybes. Tapybos darbas susideda iš trijų paveikslų, kurie atlikti klasikinės pastozinės bei lesūrinės tapybos technika, akrilo dažais. Uždaviniai: paruošti teorinių šaltinių darbo analizę; apžvelgti temos pasirinkimo motyvus; aprašyti bandymų, ieškojimų kelią bei atlikimo technikas; pateikti teorinę medžiagą apie temos pritaikomumą pedagoginiame darbe; parašyti išvadas ir atlikti tapybos darbą. Išvados: estetikoje meno ir jo pažinimo problema plėtojama kaip meno savitumo problematikos dalis. Meninės vertybės tenkina tam tikrus estetinius žmogaus poreikius, o meno kūrinys yra tik priemonė palengvinti tą pažinimą, kuris sudaro estetinį pasitenkinimą. Vieni pirmųjų ne pačią gamtą, o jos sukeltas emocijas, patirtą pirmąjį įspūdį savo darbuose vaizdavo impresionistai, kurių kūryba padarė didelę įtaką tolimesnei tapybos raidai. Išlaisvinti asmens kūrybingumą, išmokyti mokinius įvaldyti įvairias technikas, kurios atvertų neribotas galimybes išreikšti save, leisti kuo dažniau pajusti kūrybinio proceso džiaugsmą – tai vienas iš svarbiausių šiuolaikinio dailės mokytojo uždavinių. / The subject of the graduation thesis is “Summer Harmony”. The aim of this work is to reveal the experienced emotions, with the help of colours to convey the harmony of the nature, the rhythm as well as the characteristics of constantly changing light and colour. The painting consists of three scenes which are done in classical different painting techniques, in acrylics. The objectives. To prepare a theoretical analysis of the sources of the work; to review the reasons for the choice of the topic; to describe the experimenting and searching path and the performing techniques; to present the theoretical material on applicability of the topic in pedagogical work; to write the conclusions and to do a painting. The conclusions. In aesthetics the problem of the art and its knowledge is developed as a part of the artistic identity problem. The artistic values satisfy certain aesthetic human needs. An art work is only a tool to facilitate that knowledge which makes aesthetic satisfaction. Impressionists were the first to depict not the nature itself but the emotions caused by it and the first impression. Their works have made a significant impact on the development of the painting. One of the most important tasks of a modern art teacher is to liberate the individual׳s creativity, to teach students to master different techniques which could open unlimited opportunities to express themselves, to let them experience the joy of the creative process.

The focus of this study is on creativity and how place can affect it. Previous research on the subject has provided many answers to how and why places affect creativity, much because of the fact that a place can be such many things: a work place, a university, a city, a country – the list is endless. Studies have as such provided different answers in regards to the impact place can have on creativity, because they have investigated the impact of different sorts of places. However, what these studies have failed to clarify or acknowledge is that places exist within the boundaries of other places, and are as such inseparable if one are to ultimately understand the impact place has had on a creative outcome. In order to address this problem I have divided the concept of place into three abstract and physical levels: macro, meso, and micro. By applying this perspective on the historical example of the emergence of the Impressionists in Paris, France during the latter half of the 19th century I was able to distinguish how France as a nation, Paris as a city, and buildings such as cafés, artistic studios, and museums all contributed in different, but equally important, ways to the formation, cohesion and creative output of the Impressionists. As such, this study serves as an example that shows how collaborative creativity emerges within the boundaries of several places positioned on different abstract and physical levels; thus, it is only when we combine the different ways that each of these places contribute to creative collaboration that we are able to make any conclusions in regards to the impact place has had on its formation and creative output.