Wyniki wyszukiwania - Biblioteka Nauki

1

BIBLIOGRAFIA 2004 – 2016

100%

Kucharská V.

ARS

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2017

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tom 50

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nr 1-2

3 – 109

EN

- History of fine art – historiography, theory, methodology, personalities - Antiquity and pre-Romanesque art of the 6th – 10th century - Romanesque art of the 11th – 13th century - Gothic art of the 13th – 15th century - Renaissance art of the 15th – 16th century - Baroque and Rococo art of the 17th – 18th century - 19th century art - Art from the turn of the 19th century - Art of the first half of the 20th century - Art of the second half of the 20th century - Art in the context of historical events

2

Wspólnota świata sztuki

100%

Popczyk M.

Świat i Słowo

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2011

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tom Świat i Słowo 2011, nr 1 (16)

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nr Świat i Słowo 2012 nr 2 (17)

173-184

EN

For ages works of art have helped to constitute the shared experience of the world. In traditional societies it was the religious conviction that unified the community; in the contemporary world the metre for both artists and viewers is established by the institution: the Academia, the authority of the museum. In the times of the avant-garde movements the conventions ruling creativity as well as the forms of reception became diversified, and the resulting plurality of stances and viewpoints can be seen through three perspectives. The first one unites those artists and viewers who claim that a work of art is a political tool. Others form a community based on the principle that art itself is fundamentally political, as defined by Jacques Rancière. Finally, as Hans Belting argues, what bonds the community might be its relation to time, space and death.

3

IF A HOME THEN ALSO A 'PLAY', A 'SYMBOL' AND A 'FESTIVAL' - INSPIRED BY THE RELEVANCE OF THE BEAUTIFUL BY H. G. GADAMER (Jesli dom to i 'gra' i 'symbol' i 'swieto' - z inspiracji Aktualnoscia piekna H.G. Gadamera)

100%

Winnicka-Gburek J.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

221-225

EN

An attempt at paraphrasing the theory of art expounded by Hans Georg Gadamer for the needs of an analysis of the category of the home. While discussing the book The Topicality of Beauty, in which the philosopher summarised his views about art and creativity, the author of the article wishes to show the connections between experiencing a work of art and a home.

4

'THE HOUSE OF DEAD ANIMALS' ('Dom martwych zwierzat')

80%

Kitowska-Lysiak M.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

267-275

EN

The titular description 'The Home of Dead Animals' denotes a taxidermy laboratory in which dead animals are granted an 'illusion of life'. The article is illustrated by literary and artistic examples of the mentioned motif. Artists made frequent use of dead animals, including stuffed ones, starting with the Dutch still life, especially of the vanitas variety. A taxidermist who conserves and renders immortal resembles a vanitas painter. The iconography of taxidermy, however, is not extensive (see, e. g. Henry Coeylas' /1880-1920/ Reconstruction of the Dodo Bird in the Laboratory of Prof. Qustalet /1903/, a painting of value for the natural sciences). Artists much more frequently resorted to the motif of an abattoir and depicted skinned animals (Rembrandt, Goya, Soutine, Bacon et al.). While admiring their masterful qualities, the critics, as a rule, omitted the eschatic dimension of such works. A slightly different aspect of the problem is disclosed by the assemblages by Robert Rauschenberg: Odalisque and Monogram (1955-1959) and the performances by Beuys: Siberian Symphony (3 February 1963) and How to Explain Pictures to a Dead Hare (1965). Compositions by Rauschenberg are autonomous objets d'art that ignore ultimate issues, in contrast to Beuys, whose oeuvre spans between life and the trauma of the threat and death. Alongside the 'Rauschenberg model' (a dead animal envisaged as a passive element of the world of art) and the 'Beuys model' (a dead animal as a physical 'participant' of the artist's activity) there is Animal Pyramid (1993) by Katarzyna Kozyro, showing the daily proximity of death; by breaking a taboo Kozyro attained that which contemporary art finds particularly difficult - the sphere of the ultimate.

5

FROM THE MOTIF OF THE 'HOME' TO THE IDEA OF 'TRANSPARENCY' AS A PATH OF EXISTENCE (Od motywu 'Domu' do Idei 'Przezroczystosci' jako drogi istnienia)

80%

Urszula S.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

169-172

EN

A sui generis commentary on a series of paintings entitled Within the Range of Wooden Architecture, executed by the author. An attempt at resolving the questions: 'Which home is artistically of special significance to me? Can the artist find himself at home amidst his works?'.

6

TOWARDS AN ACTIVE MONUMENT ('VEHICLE FOR THE HOMELESS', 'VETERANS AS THE MONUMENTS OF THEIR TRAUMA') (W strone pomnika aktywnego ('Pojazd dla bezdomnych', 'Weterani jako pomniki wlasnej traumy'))

80%

Wodiczko K.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

153-156

EN

A lecture read by Krzysztof Wodiczko at the opening of a seminar on Conflict. Trauma. Art at the Warsaw School of Social Sciences and Humanities in January 2010.

7

'WHO WANTS TO PAINT THE WORLD IN COLOUR'? PAINTING IN THE WORLD BY CZESLAW MILOSZ

80%

Mrugalski M.

Przegląd Humanistyczny

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2005

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tom 49

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nr 1(388)

27-45

EN

Martin Heidegger is commonly considered related to Czeslaw Milosz. The author draws conclusions from this assumption. Reading 'The World' referring to Heidegger's 'Source of a Piece of Art', he exposes an ironic tension between the poems on faith, hope and love on the one hand and the poems on pieces of art on the other. They both are contradictory. Lyrical reflections deny the philosopher's thought, while 'ekfrases' come close to Heidegger's 'Source..' - a major 20th-century work studying truth-art relations. Yet, what brings Milosz's poetry close to Heidegger's philosophy is the conflict within the poem.

8

THE HOME - A SOURCE OF IDENTITY (Dom zródlo tozsamosci)

80%

Boruta T.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

195-200

EN

Analysing the symbolic and structure of Robert Campin's Mérode Triptych the author notices that the ostensible non-cohesion of the objects and the interior in the scene of the Annunciation comprises an introduction, intended by the author, of three parallel axes, in which the lines of the perspective meet. Each is ascribed to one of the Three Divine Persons. In this case, they are present as a principle introducing order into the whole depicted world and thus legitimise the religious interpretation of the portrayed objects derived from daily life, as symbols referring to supernatural reality. In this work, due to the broached theme associated with daily narration and the symbolic of the work, the artist rendered conception, nativity, and the perspective of death and resurrection; he also expressed the intimate space of loneliness as well as dialogical, social and professional relations. In this fashion, the home shown by Robert Campin conveys the identity of man who, by setting up a home in a concrete place and at a given time, seeks the reasons for existence in a supernatural order. By gaining a point of support and an anchor, he discovers an order that exceeds the dimension of individual existence. In this way, the home, which is both an idea and the experience of settling down, becomes a source of identity that constitutes the correct perspective of the world in which we live.

9

FILOZOFIA AKO VÝSKUM VYUŽÍVAJÚCI UMENIE. FILOZOFIA NA SCÉNE

80%

Böhler A.

Filozofia (Philosophy)

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2013

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tom 68

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nr 5

426 – 440

EN

Since ancient Greek philosophers like Gorgias, Plato or Aristotle called the art of poetry a (magic) form of fiction that contradicts scientific forms of knowledge, a historical abyss has been introduced between the arts and the sciences, which still haunts us today. It was Nietzsche who first questioned the legitimacy of this distinction by calling the sciences a special form of art. My article will claim that Nietzsche was the philosopher who first assumed that science and philosophy are art-based-research practices. Philosophy is not representing a given truth but has to create it by staging it both, on a conceptual AND a fleshly level. Philosophy on Stage such becomes a post-socratic attempt to perform philosophy as the creation of a certain mode of living rather than a dialectic form of communication for the exchange of scientific arguments.

10

ON THE HOME WHICH GREW OUT OF THE GROUND - A RECORDED INTERVIEW WITH JAN BUJNOWSKI (O domu, co z ziemi wyrósl zapis rozmowy z Janem Bujnowskim)

80%

Cembrzynska P.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

173-181

EN

no abstract

11

'WE'RE BUILDING A NEW HOME... ' ('Budujemy nowy dom...')

80%

Balus W.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

227-232

EN

The presented text demonstrates an unprecedented phenomenon that started to function on an increasing scale since the 1980s: corporations had rendered art a business venture, treating it as one of the most effective marketing instruments. The intentional pursuit of art has become a new form of financial investment, accompanied by a marketing strategy of creating a new image. The appearance of a private corporation sector in a domain that in Europe had been almost exclusively public has become a feature of a novel artistic awareness. Moreover, the widely delineated and effective application of marketing by the corporations has affected the approach towards marketing on the part of the temples of art - the museums. Corporation models of institutional activity and management became increasingly often models of functioning for museums. The article discusses factors that influence the transformation of traditional art museums into cultural malls as well as the increased number of renowned museums (so-called super stars) and their expansion across the world. The author analyses a process in which commercial organisations, on the one hand, develop their own forms and strategies of a cultural policy (e. g. by creating art collections) in order to retain and expand the sphere of influence while, on the other had, art institutions adopt and modify corporation strategies so as guarantee public recognition and financial stabilisation. New forms of cultural promotion and mediation have developed as a result of those concurrent interests. Both the corporations and the art institutions seek legitimisation and acceptance, at the same time emphasising the benefits enjoyed by the public/clients from establishing inter-institutional relations. By gradually taking over impact over the museums, the corporations significantly alter the functioning of those institutions and art itself, and by displaying art in their interiors they re-define the discourse, especially the one dealing with contemporary art.

12

THE TOWN, DEMOCRACY AND ART (Miasto, demokracja i sztuka)

80%

Wodiczko K.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

145-152

EN

Doctoris lectio - a lecture presented by Krzysztof Wodiczko upon the occasion of the inauguration of the 2007/2008 academic year at the Academy of the Fine Arts in Poznan, following the ceremony of granting him the title of doctor honoris causa.

13

MEDICINE AS ART: ART AND BEAUTY

80%

Niebroj L. , Kruzlak M.

Archeus. Studia z bioetyki i antropologii filozoficznej

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2006

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tom 7

39-47

EN

Medicine has been called art since ancient times. However, the term 'art' is still not clear when applied to medicine. The article aims to redefine the conception of art, taking into account its relation to the conception of beauty. In the traditional conception of art, understood as fine arts, beauty is its proper aim. When 'art' is understood as a 'craft' or 'trade', beauty is only one of its properties. In conclusion, there are indicated reasons why it would be better to describe medicine as craft rather than art.

14

Przyczynek do identyfikacji portretu niejakiej Kalinowskiej ze zbiorów Winnickiego Obwodowego Muzeum Sztuk Pięknych

80%

Nestorowycz O.

Krakowskie Pismo Kresowe

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2009

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tom 1

147-149

EN

The topic of this paper is the female portrait from 18th century belonging to collection of the Regional Art Museum in Vinnitsa (Ukraine). The author of the portrait is unknown. The researcher of this theme proves that Anna Lubomirska-Rzwuska is represented on this portrait. Princess Anna Lubomirska-Rzewuska (1717-1763) was a member of Polish nobility. Her parents are Jozef Rzewuski and Teresa Mniszek. She was Stanislaw Lubomirski’s sister. She married Waclaw Rzewuski in 1732.

15

A nostro domestico – o anonymitě jezuitských umělců v písemných pramenech

80%

Oulíková P.

Folia historica Bohemica

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2011

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tom 26

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nr 2

417-435

EN

The article comments on documents written by the Jesuits and their testifying value for the history of fine art, particularly in understanding artistic and handicraft activities of the Society of Jesus. This order excelled in an exceptionally large number of artists such as builders, painters, sculptors, wood-carvers or organ makers.

16

Zrození moderního umělce a kritika v Čechách: umění, věda a objevení času

80%

Andel J.

Teorie vědy (Theory of Science)

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2008

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tom 17/30

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nr 2

133-147

EN

In his article, the author traces the changes that took place in both art and science in the Czech Lands in the course of the 19th century. In the works and commentaries of such painters as Karel Purkyne or Sobeslav Pinkas, he finds early signals of the emergence of modern art. Even the scientific findings of Karel Purkyne's father, J. E. Purkyne, a renowned natural scientist of his era, divulge links to modern art-forms, such as cinematography. The exchange between art and science is apparent, for example, in the geological inspiration for Adolf Kosarek's paintings. What is particular about such works and scientific endeavors is their disruption of the static imagery and emphasis on the flow of time. The rise of urbanism and, consequently, of individualism, brought the passing and linear conception of time to the fore. Andel claims that this 'discovery of time' was a crucial element in constituting both the modern artist and critic.

17

Gombrowicz i filozofia. Uwagi do koncepcji sztuki pisarza

80%

Czakon D.

Kwartalnik Filozoficzny

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2015

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tom 43

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nr 1

133-152

EN

This article is an introduction to the ideas about art and philosophy found in the thought of Witold Gombrowicz. The author describes Gombrowicz’s views, referring primarily to his Diaries and to Interviews with Dominique de Roux and Piero Sanavio. The article consists of four parts, which include depictions of Gombrowicz’s attitude to philosophy, his criticism of existentialism, and his reflections on pain.

18

LOST IN TRANSLATION. THE ICONOGRAPHIC TRADITION AND VISUAL TRANSFORMATION OF AN ANTIQUE FABLE

80%

Konečný L.

ARS

|

2011

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tom 44

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nr 2

215-221

EN

The article concentrates on how the motif of the antique fable “Heracles and the Ox-Driver” transformed in a series of artefacts by Giovanni Castrucci, Lodovico Pozzoserrato and Pirro Ligorio from the 16th and 17th centuries. It demonstrates how at times the courses and interpretations of iconographic themes can be complex and difficult to trace, and how easily one can be swayed to conclude that a case is so simple and straightforward that there is in fact nothing to resolve.

19

ART AT HOME IN THE NEW SERVICE-COMMERCIAL SPACE (Zadomowienie sie sztuki w nowej przestrzeni uslugowo-handlowej)

80%

Rogozinska A.

Konteksty - Polska Sztuka Ludowa

|

2010

|

tom 64

|

nr 2-3(289-290)

227-232

EN

The presented text demonstrates an unprecedented phenomenon that started to function on an increasing scale since the 1980s: corporations had rendered art a business venture, treating it as one of the most effective marketing instruments. The intentional pursuit of art has become a new form of financial investment, accompanied by a marketing strategy of creating a new image. The appearance of a private corporation sector in a domain that in Europe had been almost exclusively public has become a feature of a novel artistic awareness. Moreover, the widely delineated and effective application of marketing by the corporations has affected the approach towards marketing on the part of the temples of art - the museums. Corporation models of institutional activity and management became increasingly often models of functioning for museums. The article discusses factors that influence the transformation of traditional art museums into cultural malls as well as the increased number of renowned museums (so-called super stars) and their expansion across the world. The author analyses a process in which commercial organisations, on the one hand, develop their own forms and strategies of a cultural policy (e. g. by creating art collections) in order to retain and expand the sphere of influence while, on the other had, art institutions adopt and modify corporation strategies so as guarantee public recognition and financial stabilisation. New forms of cultural promotion and mediation have developed as a result of those concurrent interests. Both the corporations and the art institutions seek legitimisation and acceptance, at the same time emphasising the benefits enjoyed by the public/clients from establishing inter-institutional relations. By gradually taking over impact over the museums, the corporations significantly alter the functioning of those institutions and art itself, and by displaying art in their interiors they re-define the discourse, especially the one dealing with contemporary art.

20

MAKING ART MATTERING: ENGAGING (WITH) ART IN EARLY CHILDHOOD EDUCATION, IN AOTEAROA NEW ZEALAND

70%

Craw J.

Pedagogický časopis (Journal of Pedagogy)

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2015

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tom 6

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nr 2

133 – 153

EN

This article examines the special nature of Te Whāriki, Aotearoa New Zealand’s early childhood national curriculum, as a dynamic social, cultural document through an exploration of two art-inspired imaginary case studies. Thinking with Te Whāriki retains the potential to ignite thinking post-developmentally about art, pedagogy and practice in teacher education, and in the field. It offers examples of how creating spaces for engaging (with) art as pedagogy acts as a catalyst for change, art offers a dynamic way of knowing, and being-with the different life-worlds we inhabit. While new paradigms for thinking and practicing art in education continue to push the boundaries of developmentally and individually responsive child-centred pedagogies, an emphasis on multiple literacies often gets in the way. This prohibits opportunities for engaging in other more complex approaches to pedagogy and art as a subject-content knowledge, something essential for developing a rich curriculum framework. The article draws on research that emphasises the importance of teacher education in opening up spaces for thinking about (the history of) art in/and of education as more than a communication/language tool. It considers an inclusive and broad knowledge-building-communities approach that values the contribution that art, artists, and others offer the 21st early learning environments we find ourselves in.