Wyniki wyszukiwania - Biblioteka Nauki

1

Badanie osłon odwroci obrazów malowanych na płótnie

100%

Rouba B.

Ochrona Zabytków

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1990

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nr 2

66-78

EN

The protection of the reverse side of canvas paintings as a method of their preservation has been known for a long time. The problem has often been discussed in literature on preservation. The author presents the views of various authors on this subject. In order to determine and compare the qualities of some of the materials recommended by literature as a covering for the paintings' reverse sides, studies were carried out of the influence of humidity and temperature changes on the canvas and the paint layer. The obtained results confirm the weight and influence of the base on which the painting is hanging, the microclimate behind the painting, at the same time confirming the great influence of the base on the course of the damage process. Materials that are excessively hygroscopic (soft cardboard, fibreboard etc.) should be considered very dangerous regardless of whether they are used as a covering, or constitute the construction on which the paintings are hanging (e.g. the divisions of exhibition rooms made ot tibreboard). The studies confirmed the unusual qualities of wood as covering material, known from preservation experience, old sources of information and contemporary literature. Wood not only levels out humidity changes, but also temperature changes, to a greater degree than any other material. Analysis of the literature, the results of studies on the qualities of the coverings and their influence on the formation of the microclimate behind the painting, the results of studies of many paintings and the author's own experiences have led her to conclusions that can be applied to preservation practices. These deal with the influence of the painting's surroundings - such as the humidity and the temperature - on the damaging of the painting structure. They also deal with the use of the coverings of the reverse sides as a method to counteract these damages.

2

Mazurski płatek – znaczenie i pochodzenie wyrazu

58%

Biolik M.

Prace Językoznawcze

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2014

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nr 16/1

9-17

EN

The vocabulary item płatek appeared in the poem by Masurian folk author Jan Domasz O teraźniejszych modach. It can be assumed from the context that it was used as a noun that can be defined as ‘a piece of cloth worn around the head or neck – a scarf or a bandana’. The other word that was used to describe a piece of clothing protecting the head was myca. The item płatek was a diminutive of płat. Both mentioned words have many meanings in the Polish language as well as in other Slavic languages. The primary meaning of the word was ‘a piece of cloth’ that led to the creation of the word płatek and the word płacić (to pay) as cloth was used by the Slavic people as the currency.

3

Jakości estetyczne płócien Francisa Bacona a źródło odpowiedzi na wartość

51%

Mordka A.

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nr 9

DE

Der Verfasser des Artikels erwägt das Problem der Antwort auf den Wert, indem er Me-thoden der ästhetischen Theorien anwendet, die eine materielle Herangehensweise an diese axiologische Fragestellung bevorzugen. Dabei bezieht sich der Autor auf die Male-rei von Francis Bacon. Als Antwort erscheint eine emotionale Reaktion, die von vielen Bereichen des Gemäldes verursacht wird. Die Analyse betrifft jedoch jene künstlerischen Faktoren, deren Bedeutung in allgemeinen ästhetischen Erwägungen häufig ausgelassen wird: die Leinwand, Eigenschaften des Maltuches, die Art der Farbe, Malschicht, Mal-mittel, sogar technische Angelegenheiten wie Art und Größe des Maltuches. Die Unter-suchung dieser Kategorien zeigt, wie der koloristische Logos des Gemäldes schrittweise auftaucht: Logos, dessen Ordnung von Sturm der Eindrücke und Drang der Farbe mit der Formaldisziplin bei der Herausbildung eines besonderen Wertes übereinstimmt – der schrecklichen Schönheit.

EN

In the article the author considers the problem of value response, using the methods of the aesthetic theories which prefer the „material‟ approach to this axiological issue, as well as referring to Francis Bacon‟s painting. This answer is an emotional response to many dimensions of the painting. The analysis will concern, however, artistic factors whose significance is often omitted in general aesthetic investigations: the support (or basis) of the painting, the canvas‟ properties, the type of paint, the color layer, the paint-ing tools, and even the technical background – the type and size of the canvas. The anal-ysis of these categories presents how the colorful logos of the painting gradually emerges; the logos whose order of sensuous influence and violence of colour cooperate with for-mal discipline in creating the exceptional merit – a terrible beauty.

PL

W artykule autor rozważa problem odpowiedzi na wartość, używając metod teorii estetycznych, które preferują ‘materialne’ podejście do tego zagadnienia aksjologicznego oraz odwołując się do malarstwa Francisa Bacona. Odpowiedź ta jest emocjonalną reakcją powodowaną wieloma obszarami obrazu. Jednakże analiza dotyczy tych artystycznych czynników, których znaczenie jest często pomijane w ogólnych rozważaniach estetycznych: podobrazia, własności płótna, rodzaju farby, warstwy malarskiej, narzędzi malarskich, a nawet technicznych spraw: rodzaju i wielkości płótna. Analizy tych kategorii pokazują, jak wyłania się stopniowo kolorystyczny logos obrazu ; logos, którego porządek wrażeniowego naporu i przemocy koloru współgra z dyscypliną formalną w tworzeniu szczególnej wartości – okropnego piękna.