Wyniki wyszukiwania - Biblioteka Nauki

1

Reflections and interpretations of photography and poster design in Grigory Musatov’s paintings in the late 1920s and early 1930s

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Kostina D.

Umění (Art)

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2017

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tom 65

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nr 2

EN

Grigory Musatov (1889-1941) was the Russian émigré artist who left the country in 1920 and spent the rest of his days in Czechoslovakia, mostly in Prague, where he was an active painter and graphic artist. During the last two decades of his life, Musatov’s artistic vision changed several times but relations between his works and different photographic phenomena can be determined at every stage. The article is devoted to the shortest period of Grigory Musatov’s work that lasted approximately from 1928 until 1932. In these years artist got attracted by such relevant to the age themes as the industrial boom, technological advances, and sport. Musatov’s comprehension of these issues popular not only in painting and graphic art but also in photography and poster design was conjugated with the rethinking of the visual features of these mediums. The paper offers an analysis of Grigory Musatov’s paintings as a case of the specific interpretation of the typical narratives and visual characteristics of pictorial photography, modernist photography, pressphoto and poster design by one modern artist.

2

Nauka i sztuka

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Smoluk A.

Didactics of Mathematics

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2014

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nr 11(15)

85-116

EN

Praca jest esejem – zestawem luźnych myśli autora tyczących się nauki, sztuki, determinizmu i stochastyki. Liczne nawroty są metodą – Czytelnik jest zniewolony do zauważenia głównej idei szkicu. Podana literatura ma jedynie charakter pomocniczego światła pokazującego, że temat jest aktualny i ważny. Żyjemy w świecie zawładniętym sztuką i nauką.

3

Gmach Urzędu Wojewódzkiego i Sejmu Śląskiego w Katowicach. Architektura narodowa w formie i treści

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Syska A. , Woźniakowska A.

Estetyka i Krytyka

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2012

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nr 2(25)

163-182

XX

The political consequences of the 2nd World War resulted in part of Upper Silesia being taken over by the Polish administration. It required a new building to house the provincial administration office and the Silesian Assembly. The architects from Cracov designed a building of monumental mass decorated with symbols of nationality and the power of state. The building of the Office was to become a landmark of the new Silesian province and a clear sign of its national status and historical background.

4

Marginální fenomén, nebo oběť orientalistického klišé?

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Čapková H.

Umění (Art)

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2017

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tom 65

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nr 2

EN

This study focuses on Japanese artists' experiences with Europe and with the Czechoslovak avant-garde in particular, and it describes the context in which Japanese art was viewed by segments of the public interested in modern contemporary Japanese art. It thus offers an introduction of sorts to a broader but to date marginal subject. The journey to Europe as a return to Japanese tradition would seem an unlikely chapter in the history of the early stages of Japanese modernism - unlikely because Japanese artists themselves, while striving to be modern, saw the West and its art as threatening to engulf them and deprive them of their "Japaneseness" if they took Western influences as their model. They thus subscribed to the stereotypes that characterised Orientalism and remain deeply rooted in Czech society to the present day. The paradoxical experience of expecting to plumb the depths of the avant-garde in Europe but instead going back to Japanese art was not uncommon for Japanese artists, and books and journals record testimony of this provided not just by architects Sutemi Horiguchi (1895-1983), Masami Makino (1903-1983), Chikatada Kurata (1895-1966), but also, for example, by textile artist Michiko Yamawaki (1910-2000), who trained at the Bauhaus. The study offers an analysis of these transnational experiences and attempts to capture how they shaped the work of Japanese artists and principles of education in the field of art and design in interwar Japan. As well as examining direct reciprocal influences between individual artists and art groups, the study looks at the wider interpretations of Japanese and Czechoslovak art and at the changes to these interpretations resulting from historical or political developments. Political influence appears to be particularly evident in collecting and exhibition work, an example of this being the work of Jirohachi Satsuma (1901-1976).

5

The New Solomon : Architecture as the Embodiment of State Ideology and Political Practice in Early Modern Prague

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Kalina P.

Umění (Art)

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2017

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tom 65

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nr 1

26-36

EN

The Vladislav Hall (c. 1490-1502) in the Old Royal Palace of Prague Castle is well known to modern scholarship and belongs to the icons of medieval European architecture. Despite of this, the complex relationship between its form and its function was never satisfyingly described. Amazing is the fact that the structure was built in the time when the king did not reside in Prague. The Czech king Vladislav from the Jagiellonian dynasty was elected Hungarian king in 1490, and since this moment did not live in Prague but in Buda, the seat of his former rival — the late Hungarian king Matthias Corvinus. I argue that the spatial structure of the Palace represents a fixation of the power structure in the state as it was stabilized in this period of the Jagiellonian rule. The rooms adjacent to the Vladislav Hall were used for sessions of the Land Court (which was since the end of the 1480s the most important judicial institution in the kingdom), of the Chamber Court, and of the Court Tribunal, whereas to the East of the Hall there was the All Saints chapel. The portals leading to the chapel and court rooms were shaped as a hierarchical sequence, accentuating the importance of the sacred space and of the Land Court room as the Land court was in the hands of high aristocracy. At the same time, the double edicule of the room used spiral columns and twisted pilasters, suggesting the king’s role as a new Solomon — the guarantor of peace and justice for the kingdom. The spiral columns of the Solomon’s Temple were represented in a row of artifacts including the illustration from Schedel’s Weltchronik which could be easily accessible to the patrons of the building. As an immediate inspiration could serve the monument to Vladislav’s rival Matthias Corvinus created at the end of the 1480s at Matthias’ castle in Bautzen.

CS

Vladislavský sál (ca. 1490-1502) ve Starém královském paláci na Pražském hradě je modernímu bádání dobře znám a náleží k ikonám středověké architektury v Evropě. Navzdory tomu nebyly složité vztahy mezi jeho formou a funkcí nikdy uspokojivě vysvětleny. Překvapující je zde zejména skutečnost, že sál byl vybudován v době, kdy český král nesídlil v Praze. Vladislav z dynastie Jagellonců (českým králem od roku 1471) byl roku 1490 zvolen uherským králem a od té doby sídlil v Budíně, sídle svého někdejšího rivala — zesnulého uherského krále Matyáše Korvína. Domnívám se, že prostorová struktura Starého královského paláce fixovala mocenskou strukturu, jež byla vytvořena v tomto období jagellonské vlády. Místnosti sousedící s Vladislavským sálem byly využívány pro zasedání Zemského soudu, jenž byl od konce osmdesátých let 15. století nejdůležitější soudní institucí v zemi, komorního soudu a dvorského soudu, zatímco na východ od Vladislavského sálu stála kaple Všech svatých. Portály vedoucí ke kapli a k soudním místnostem byly navrženy jako hierarchická struktura zdůrazňující důležitost sakrálního prostoru a Zemského soudu, jenž byl v rukách nejvyšší šlechty. Zdvojená edikula portálu zároveň dostala točité pilastry a polosloupy, naznačující královu roli coby nového Šalamouna — záruky míru a spravedlnosti v království. Točité sloupy Šalamounova chrámu, které zde sloužily jako inspirace, byly reprodukovány řadou artefaktů včetně ilustrace ze Schedelovy Světové kroniky, jež byla snadno dosažitelná pro objednavatele stavby. Přímou inspirací pak mohl být památník Vladislavova soupeře Matyáše Korvína na jeho hradu v Budyšíně vytvořený na konci osmdesátých let 15. století.

6

Miejsce sztuki – sztuka miejsca

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Ługowska A.

Estetyka i Krytyka

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2012

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nr 2(25)

131-143

XX

The article attempts to present the role and accompanying genealogy of the category of site in art - proceeding from a phenomenological understanding of the site, through the materialist investigations of institutional critique and towards a discursive model extending beyond familiar art contexts. Since the reconfiguration of the site precipitates the reconfiguration of the place the artist occupies, it is attempted to designate an intricate situation of the artist, who departs from a modernist paradigm and assumes the role of a cultural-artistic service provider rather then a producer of artistic objects. This issue implicates the problem concerning the status of originality, authenticity, and authorship in site-specific art. Under these new circumstances art has become one of the many cultural practices that binds individuals into the social tissue, where the link between the work and its site has ceased to reflect the physical durability of the relations and consists in acknowledging its transience and impermanence. Accordingly, various cultural debates, theoretical concepts, social issues, political dilemmas, events of significance for a given community have assumed the role of new sites of art.

7

Sztuka w społeczeństwie sieciowym

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Gutkowski M.

Estetyka i Krytyka

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2010

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nr 19

37-52

EN

The rise of the network society has substantially changed the structure of human experience in all important fields of life and culture. In his ground-breaking trilogy entitled The Rise of the Network Society, Manuel Castells has created a theoretical framework for understanding this new reality we live in. The article attempts to regard contemporary art as one of the global flows, which is a term coined by Castells to describe the network reality. As far as art is concerned, conclusions drawn from this analysis are unappealing.

8

Znaczenie personalistycznej krytyki artystycznej w poszukiwaniu sensu sztuki

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Winnicka-Gburek J.

Estetyka i Krytyka

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2011

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nr 2(21)

167-178

EN

I perceive the art criticism as the philosophical reflection on art. It is possible to ask question about the sense of art only on the basis of philosophy including, among others, peronalism. In this text, the concept of Tymon Terlecki’s personalistic criticism based on Emmanuel Mounier’s philosophy is analyzed to assess the usefulness of its main assumptions and design a model of the contemporary artistic critic. The analysis of such concepts as person, personal movement, freedom, transcendence, symbol and view leads to the conclusion that a critic personalist is not supposed to be satisfied only with deciphering the sense of art. However, s/he is to extend the scope of her/his reflection with the context of the work’s potential impact on an artist and a viewer.

9

Malowanie filozofii. Drzeworyty Arthura C. Danto

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Bogusz-Bołtuć E. D.

Estetyka i Krytyka

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2011

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nr 2(21)

25-44

EN

This essay is intended to remind of, or rather to extract from oblivion, art, which was last displayed fifty years ago, in 1960, in New York. Arthur C. Danto before he became a philosopher was first and foremost an artist. He created black and white woodcuts, in which he managed to combine two different traditions of imaging German Expressionism and the New York school of Action Painting. This art is valuable not only because it belongs to the achievements of one of the most respected contemporary philosophers of art and art critics. Danto's artistic oeuvre is an excellent example of painterly woodcuts, balancing on the border of figurative and abstract. Also, an important, so far ignored fact, is that this artistic experience had a significant effect on the formation of Arthur C. Danto philosophical theories. So Baroque Figure, Elder, and other prints by Danto, preceded and prepared an innovative interpretation of Warhol's Brillo Boxes.

10

About the Project “Beethoven – Metamorphosis”

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Kucia P.

Estetyka i Krytyka

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2014

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nr 3(34)

57-76

EN

The aim of this paper is to describe the theoretical assumptions and the effects of the realisation of the project entitled “Beethoven – metamorphosis”. The project was the practical part of the PhD program and seems to be a good example of an author’s creation of reality.

11

Ars ancilla historiae. O historii i sztuce według T. Lessinga

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Kłonkowska A.

Estetyka i Krytyka

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2010

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nr 19

73-83

EN

The paper concerns an attitude towards art which is to be found in the writings of Theodor Lessing. Lessing’s reflections on art and its cultural role are presented in the context of his philosophy of history. The article is focused on the function which, according to Lessing, art fulfils in the process of creating history as well as lending credence to it. History itself is perceived by him as an arbitrary construct of Western culture, an ideological vision giving sense to the senseless.

12

Architektura a sztuka

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Barnaś J.

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2004

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tom R. 101, z. 10-A

193-197

PL

Autor zadaje pytania: [i] jaki jest związek pomiędzy architekturą a sztuką?, [ii] w jaki sposób architektura i sztuka konkurują ze sobą?, [iii] w jaki sposób architektura i sztuka się uzupełniają?

13

The art without Art

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Wróblewski F.

Prace Etnograficzne

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2013

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tom 41

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nr 2

113-119

EN

This article is based on an analysis of the social field of the art and cultural category designed to described human taste of aestheticism and need to art creativity. The main idea of this paper is attempt of amendment existing applied notions to the description and analyses of art. To this purpose author is using the analogy between the iconoclash notion suggested by Bruno Latour, and proposed by oneself idea of the mediaclash. This phenomenon characterized by a clash of aesthetics and usage of formal means (especially digital technologies, which are the foundations of the very existence of new media). The second proposition is arthick category, used like Clifford Geertz thick description. This concept show a procedure of interpretation that sets the meaning of particular actions within their proper context, which makes it possible to understand human creative actions and it’s connections with social field.

14

Wokół jednego sztambucha. Echa artystycznej szkoły wileńskiej w środowisku plastycznym Olsztyna

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Kobrzeniecka-Sikorska G.

Studia Ełckie

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2013

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tom 15

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nr 4

537-553

EN

The article discusses traces of the Vilnius artistic school in Olsztyn of the post-war period. Its main object is a diary of Kazimiera Adamska-Rouba, a well-known artist of Vilnius, which contains miniatures of the most important artists of Vilnius: Slendzinski, Hoppen, Jamontt, Rouba etc.

15

Sztuka w eseistycznym ujęciu Georga Simmla. Próba syntezy

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Czakon D.

Estetyka i Krytyka

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2013

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nr 2(29)

27-42

EN

The purpose of this article is to describe the notion of art in accordance with Georg Simmel’s views. The author presents this philosopher’s stance by referring primarily to his essays related to art, such as On Aesthetic Quantities, The Picture Frame: An Aesthetic Study, and The Ear: An Aesthetic Study. The article focuses on the essence and the meaning of the art and the problem of the modern art.

16

Sztuka pytania – pytania sztuki

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Depta H.

Kwartalnik Pedagogiczny

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2015

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nr 2(236)

163-172

EN

To live actively and courageously is to unceasingly ask questions. Each authentic question is an open question. Openness of what we are asking about comes from the answer not being presupposed. Such openness cannot be attributed to the pedagogical question, that is, a question which is given to a student, in expectation of a pre-determined answer. An upbringing understood as education through dialogue and education for dialogue treats open questions as being of a far greater value. Such open questions have always been posed by art. The openness comes from ambiguity which characterises all true works of art. It leads to different interpretations and evaluations. While the pedagogical questions serve only to reproduce knowledge, open questions posed by art lead to the discovery and co-creation of knowledge.

17

Status dzieła w przestrzeni mix-medialnej

80%

Dąbkowska-Zydroń J.

Estetyka i Krytyka

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2012

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nr 1(24)

25-34

XX

The opposition between traditional and new media (usually identified with te therm: electronic media) paradoxically contributed to creation of a specific artistic phenomenon. The space has becone not only a place or its illusion, but was treated as a tool for the creation of feedback: sending impulses but absorbent ones to reach him. Using space as a tool , the artist leads us into a state of uncertainly the status of the work. In fact, we do not know where it is entrenched because it’s ‘suspended’ in many objects but without the destination of their hierarchy. Who is considered the author, how to save and preserve it? This particular space we can name mixmedia space. It sets a new order in arts, not just visual. Enlargement of artistic space appears to be an permanence process and the infinite. The mixmedia space is only step in this continuity.

18

Prawda sztuki a rzeczywistość. Estetyka Hansa-Georga Gadamera wobec wybranych zjawisk sztuki współczesnej

80%

Ziółkowska A.

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2012

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nr 1

79-93

EN

Hans-Georg Gadamer combines the experience of art with the experience of truth. Dealing with art impacts strongly upon human existence. Reality and art – despite their different ontological status – remain together in a dynamic relationship. This article consist of two parts. The first one considers Gadamer’s aesthetics. Taken into account are such issues as: hermeneutical aesthetic experience, the ontological status of art, truth of art and relationship between art and reality. The second part confronts Gadamer’s aesthetics with some forms of contemporary art such as: happening, performance and pop art. This article focuses on the consequences which result from this confrontation for the truth of art and its relationship to reality.

PL

Hans-Georg Gadamer łączy doświadczenie sztuki z doświadczeniem prawdy. Obcowanie ze sztuką oddziałuje silnie na ludzką egzystencję. Rzeczywistość i sztuka, pomimo różnego statusu ontologicznego, pozostają ze sobą w dynamicznym związku. Niniejszy artykuł składa się z dwóch części. W pierwszej części rekonstruuję estetykę Gadamera. Podejmuję m. in. zagadnienia: hermeneutycznego doświadczenia estetycznego, statusu bytowego dzieła sztuki, prawdy sztuki i relacji pomiędzy sztuką a rzeczywistością. W drugiej części konfrontuję rozważania hermeneuty z niektórymi przejawami sztuki współczesnej, takimi jak: happening, performans, pop-art. W artykule skupiam się na konsekwencjach, jakie płyną z tej konfrontacji dla zagadnienia prawdy sztuki i jej relacji do rzeczywistości.

19

Publikacje Bogdana Nawroczyńskiego (1882–1974) w „Kwartalniku Pedagogicznym”

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Przanowska M.

Kwartalnik Pedagogiczny

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2014

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nr 3(233)

53-76

EN

The article presents an analysis of Bogdan Nawroczyński’s publications printed in “The Pedagogical Quarterly”. In order to celebrate the sixtieth anniversary of the Faculty of Education at the University of Warsaw and to pay homage to Prof. Nawroczyński, many excerpts from his publications are quoted as well. In the first part of the article, Nawroczyński’s texts from the quarterly are grouped into three categories: articles, reviews and scientific press reviews and each of the groups is briefly discussed. The second part is devoted to more extensive quotations from Nawroczyński’s articles, in which he raises important issues concerning comparative education, the significance of cultural and aesthetic experience in education and the place and role of school in education. Moreover, in his texts one can easily find humanistic concern for a quest for a human being, for a person as a certain whole not divided into some fragments schematically perceived from the angle of natural or social sciences.

20

Estetyka jako nauka ﬁlozoﬁczna. Uwagi o obecnym stanie dyskusji

80%

Konik R.

Studia Philosophica Wratislaviensia

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2006

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tom 1

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nr 1

47-56

EN

Among the issues discussed in the debate concerning the theoretical status of aesthetics is, for example, the ambiguity of the concepts fundamental to the discipline. This is especially true in the case of the essence of beauty, ontological status of art, the nature of aesthetic and artistic experience, social and individual impact of art, the rules for verification of aesthetic propositions, etc. A multitude of divergent, often mutually exclusive understanding of these concepts makes very difficult to determine the status of the discipline itself. Aesthetics has also been accused of the lack of terminological precision of its concepts, incoherence of its theoretical assumptions, and bad methodology. Another objection is that aesthetics it is rather a cluster of reflections coming from ontology, epistemology, semiotics, theory of culture, anthropology, sociology, psychology or linguistics, rather than an independent discipline on its own. The fact that art has now entered virtual worlds has further diminished the aestheticians' desire to form normative propositions concerning the art. With the above in view, I sketch a possible definition of subject of aesthetic reflection as an independent philosophical discipline.