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    Wyświetlanie 1-11 z 11
    Tytuł:
    "De prospectiva pingendi" Piera della Francesca - perspektywa dla "opornych"
    Piero della Francescas "De prospectiva pingendi" - perspective for "dummies"
    Autorzy:
    Salwa, Mateusz
    Powiązania:
    https://bibliotekanauki.pl/articles/707110.pdf
    Data publikacji:
    2014
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Francesca
    perspective
    theory of art
    perspektywa
    teoria sztuki
    Opis:
    This article is an introduction to the accompanying translation of selected fragments of Piero della Francesca’s (1412?-1492) treatise De Prospectiva Pingendi (mid-1470s). Although Piero was rediscovered as a mathematician in the nineteenth century (his dissertation on perspective was first published in 1899), it was only in the second half of the twentieth century that his theories were systematically examined. As a result, Piero is now regarded as one of the greatest mathematicians of his time, who contributed to the development of studies on ancient geometry. From the point of view of art history, his most important treatise is De Prospectiva Pingendi, but this is only one part of Piero’s theoretical achievements, which also include Trattato d’Abaco (mid-1460s) and Libellus de Quinque Corporibus Regularibus (first half of the 1480s). All three works grew out of the same tradition of applied mathematics taught in schools for merchants and craftsmen (scuole d’abaco). At the same time, however, Piero was innovative in the way he greatly emphasised geometry. De Prospectiva Pingendi is a dissertation, which on the one hand shows painting as a craft, but on the other, offers a theory based on geometry, which according to Piero, was essential to painters. For this reason, the treatise is a unique example of a meeting point between art and science, craft and theory. Although not published during the Renaissance, it was well known as evidenced by the fact that later dissertations on perspective (eg. by A. Dürer) adopt definitions and issues introduced by Piero. Furthermore, some of his processes herald solutions that came to be known from more advanced and later-developed geometry (G. del Monte, G. Monge).
    Źródło:
    Rocznik Historii Sztuki; 2014, 39; 7-20
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Key to M. K. Ciurlioniss Synthesis of the Arts
    Klucz do syntezy sztuki M. K. Ciurlionisa
    Autorzy:
    Siechowicz, Paweł
    Powiązania:
    https://bibliotekanauki.pl/articles/707103.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Ciurlionis
    music
    painting
    theory of art
    muzyka
    malarstwo
    teoria sztuki
    Opis:
    Muzyczny tytuł jednego z najsłynniejszych obrazów litewskiego malarza i kompozytora Mikołaja Konstantego Ciurlionisa (1875–1911) – Fugi – przyczynił sie do wielu jego interpretacji, których autorzy starali sie odniesc muzyczna idee fugi do wykreowanej przez Ciurlionisa malarskiej rzeczywistosci. Interpretacje te czesto rónia sie od siebie jedynie w szczegółach, czasem jednak dotycza kwestii podstawowych. adna z rozwaanych przez badaczy interpretacji nie jest jednak satysfakcjonujaca. Autor przedstawia róne moliwosci patrzenia na obraz Ciurlionisa: przez spojrzenia Dorothee Eberlein, Vladmira Fedotova, Jacka Szerszenowicza, Petera Vergo, Genovaitë Kazokas i Eero Tarastiego, by na koniec zaproponowac własne, róniace sie od poprzednich. Wykazuje te zwiazek malarskiej Fugi z Fuga op. 34 skomponowana przez Ciurlionisa w pół roku po ukonczeniu obrazu. Zwiazek ten opiera sie na pokrewienstwie tematycznym (w sensie formalnym) – oba dzieła osnute sa wokół tej samej idei, scislej – wokół tego samego uprzywilejowanego punktu ciekosci kompozycji, a w utworze muzycznym zostaje wykorzystany jako kształt melodii tematu. Ciurlionis tworzy wiec dwa całkowicie autonomiczne dzieła, wychodzac od tej samej idei. W tym spostrzeeniu kryje sie klucz do zrozumienia sposobu, w jaki artysta starał sie rozwiazac problem syntezy sztuk. Rozpoczynał od linii, która jawiac sie raz jako malarski kontur, raz jako dzwieczna melodia, stanowiła wspólny mianownik dla obu sztuk. Opierajac sie na tej linii kształtował forme dzieła jako skonczonej całosci, nadajac obrazom rygor klasycznych form muzycznych, jednoczesnie respektujac własciwe tylko dla malarstwa prawa percepcji wzrokowej. Nie układał malarskich kompozycji na wzór muzyki, ale tworzył je tak, jakby komponował – na sposób podobny do muzycznego. Dlatego te element przedstawieniowy w malarstwie Ciurlionisa zostaje podporzadkowany wzajemnym zalenosciom miedzy barwami a konturami płaszczyzn wypełniajacych przestrzen jego obrazów.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 59-70
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Teoria tworzenia anamorfoz stożkowych według Jana Ziarnki
    The Theory of creation of conical anomorphoses according to Jan Ziarnko
    Autorzy:
    Biłozór-Salwa, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/706976.pdf
    Data publikacji:
    2014
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Ziarnko
    Le Grain
    anamorphosis
    geometry
    theory of art
    anamorfoza
    geometria
    teoria sztuki
    Opis:
    Hailing from Lvov, the artist Jan Ziarnko is widely known as one of the first Polish engravers active abroad. Among the works executed by him in Paris and acknowledged in literature, there is a most interesting etching showing a Pair of Lovers. To create it, the artist skilfully used perspective deformation. A thorough discussion of this work prompts the introduction of a so far completely unknown Latin treatise written by Ziarnko in 1619. Perspectivae stereo graphice pars specialis is a short essay dedicated entirely to the technical problems of creating conical anamorphoses. This text, fitting perfectly into the tradition of seventeenth-century European literature dedicated to the question of perspective, is perhaps the first essay to explain how to create conical anamorphoses. Not recorded in the literature on anamorphosis, it seems well worth discussing, the more so that it precedes by almost two decades the most important treatise by Jean-François Niceron La Perspective curieuse ... dated 1638. The present text discussing Ziarnko’s interest in the problems of perspective, particularly those that are anamorphic, is accompanied by a Polish translation of the whole dissertation. It consists of an elaborate dedication, the proper treatise written in the form of thirteen statements, and the epilogue. The translation bears comments relating only to the content of the work itself. Thus, the present article can be considered as an introduction to the Polish edition of the treatise.
    Źródło:
    Rocznik Historii Sztuki; 2014, 39; 43-54
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Malarska narracja w świetle teorii francuskiej sztuki akademickiej. Antecedencje wolności artystycznej
    Narrative painting in the light of the theory of French academic art. Antecedents of artistic freedom
    Autorzy:
    Hryszko, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/707090.pdf
    Data publikacji:
    2014
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    academic painting
    theory of art
    France
    17th century
    malarstwo akademickie
    teoria sztuki
    Francja
    XVII w.
    Opis:
    This article aims to provide an answer to the title based on advice propagated in the writings of French theorists of art, and on artistic practice in the circle of the Royal Academy of Painting and Sculpture in Paris. These reflections are centred on the writings of Nicolas Poussin, Hilaire Padera, Gian Pietro Bellori, and André Félibien, as well as on paintings discussed during lectures at the Paris Academy and treated as model solutions for the education of painters. The foundation for creating a painted version of any story is reading the literary source. As a result of his reflection on the text, the artist forms in his mind an idea of the future work, expressed in the preliminary sketch. During the execution of the planned composition, the history painter had to categorize and schematize the appearances of his protagonists, their poses, gestures and facial expressions, so that the viewer immediately knew what role the depicted character played in the scene. In keeping with the idea of “painterly discourse”, the history painter competed with the writer by using poses, gestures and facial expressions, instead of letters and words. Although theorists of art advocated that painters use natural movements and expressive means in moderation, paintings were dominated by a solemn rhetoric of gestures and facial expressions used to enhance the didactic function of the image. The Academy attempted to reconcile these two approaches to historical painting. The first required that art faithfully reproduce the written story. The second gave the artist a certain degree of freedom in the selection of elements considered appropriate to the depiction of the narrative, provided the choice was correctly made. The latter approach has dominated the academic practice of painting, allowing the painter to abridge the tale and create within the picture a kind of a résumé of the written story.
    Źródło:
    Rocznik Historii Sztuki; 2014, 39; 61-72
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “The Judgment of Hercules”. Shaftesbury at the Crossroads of Art Theory
    „Sąd Herkulesa”. Shaftesbury na rozstajnych drogach historii sztuki
    Autorzy:
    Jaźwierski, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/2082092.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    art theory
    aesthetic theory
    literary theory
    18th Century British aesthetics
    18th Century French Art Theory
    18th Century moral philosophy
    neoclassicism
    aesthetic experience
    Opis:
    In the early 18th century, British art theory was an almost virgin field, open to inevitable influences from the continent. Anthony Ashley Cooper, the Third Lord of Shaftesbury, who devoted the last years of his life to various problems of art, made an attempt to create the first serious theory of art in England. In this article, I try to show that Shaftesbury was faced with the need to choose between two competing approaches to art widespread in France at the turn of the century: the traditional approach, based on the poetic understanding of painting, the essence of which was history and its moral meaning, and the new one, proposed by Roger de Piles, based on the action of color and light and shade, which create a comprehensive visual effect independent of the story presented in the picture. Shaftesbury took a traditional approach, driven by moral fears and rather reluctant to make sensual pleasure the goal of art. At the same time, he appropriated the key concepts of Roger de Piles: the pictorial unity and the whole picture, ignoring the ideas associated with them. This should be understood as a half-measure that allowed him to modernize the language of art without the danger of compromising the moral importance of painting.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 31-40
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Shaftesbury’s Dictionary of Terms of Art
    „Dictionary of Terms of Art” – Słownik pojęć teoretycznych-artystycznych Shaftesbury’ego
    Autorzy:
    Kern, Ulrike
    Powiązania:
    https://bibliotekanauki.pl/articles/2082091.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    art theory
    aesthetic theory
    literary theory
    18th Century British aesthetics
    vocabulary of art theory and art history terms
    aesthetic experience
    Opis:
    This article discusses Shaftesbury’s fragmentary ‘Dictionary of art terms’, an appendix to the unfinished Plastics, and its relevance in establishing an aesthetic and moral art theory in Britain. The article argues that, although the ‘Dictionary’ is rudimentary, it already reveals enough information to assess it as an important document of English art philosophy. Given that Shaftesbury’s dictionary project was the first English attempt to produce a theoretical art dictionary, it is discussed in the light of traditions of the art dictionary in this country. The study clarifies notions of the dictionary’s art terms through comparative analyses with the use of the words in the aesthetic discourses in the Plastics. It looks at Shaftesbury’s creation of novel words based on classical literature and his use of contemporary literary sources which was partly ambivalent, for fear that only words were transferred from their original context but no ideologies that the author disapproved of. With the help of exemplary discussions of Shaftesbury’s art vocabulary, the study illustrates the shaping of an aesthetic vocabulary in England.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 19-29
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Shaftesbury V. Richardson: a Counterfactual Exercise
    Shaftesbury Versus Richardson: Ćwiczenie Kontrfaktyczne
    Autorzy:
    Mount, Harry
    Powiązania:
    https://bibliotekanauki.pl/articles/2082085.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    art theory
    social history of art
    aesthetic theory
    18th Century British aesthetics
    taste
    beginnings of art history
    neoclassicism
    Opis:
    This article considers what might have happened had the 3rd Earl of Shaftesbury lived long enough to see his planned book of art theory, Second Characters, into publication. It suggests that Second Characters would have challenged, and perhaps supplanted, Jonathan Rich- ardson the Elder’s Theory of Painting (1715) as the first substantial and original British contribution to the theory of art. Much of the article consists of a comparison between Richardson’s Theory of Painting and the ‘Plasticks’ section of Second Characters, for which Shaftsbury’s notes survive. This comparison suggests that the theory of painting which Shaftesbury would have offered to his compatriots would have dif- fered from that offered by Richardson in certain important respects. Primarily addressing his text to his fellow aristocratic patrons rather than to painters, Shaftesbury’s vision for the future of British art was both more high-minded and more narrow than that offered by Richardson. For Shaftesbury the moral subject matter of painting was all-important, and the artistic traits he most admired, including historical subjects, grandeur of scale and austerity of style, were those he saw as best placed to transmit that moral subject matter. Richardson, by contrast, was for more tolerant of the extant British taste for portraits and more sensual styles and offered a theory of art which was in part formalist. The article also stresses the importance of the equation Shaftesbury made between the social and political health of a society and the quality of its art, and suggests that had Second Characters been published at the time when it was written we might now consider Shaftesbury, rather than Winckelmann, as the father of the social history of art. The article ends by considering two possible outcomes had Second Characters been published in the early eighteenth century, in one of which it had a profound impact on British art and British attitudes to art, and in the other of which Shaftesbury’s refusal to compromise with current British tastes condemned his text to no more than a marginal status.
    Autor rozważa, co mogłoby się stać, gdyby trzeci hrabia Shaftesbury żył na tyle długo, aby ujrzeć publikację swojej planowanej książ- ki z teorii sztuki, Second Characters. Sugeruje, że Second Characters zakwestionowałyby i być może zastąpiłyby Theory of Painting (Teorię malarstwa) Jonathana Richardsona starszego (1715) jako pierwszy znaczący i oryginalny brytyjski wkład w teorię sztuki. Dużą część swych rozważań autor poświęca na porównanie Theory of Painting Richardsona i tekstu Plasticks z Second Characters, do którego zachowały się notatki Shaftesbury’ego. Porównanie to pozwoliło na wysunięcie tezy, że teoria malarstwa, którą Shaftesbury zaproponowałby swoim rodakom, różniłaby się pod pewnymi względami od tej przedstawionej przez Richardsona. Shaftesbury, zwracając się przede wszystkim do arystokratycznych mecenasów, a nie do malarzy, miał wizję przyszłości sztuki brytyjskiej bardziej wzniosłą, ale równocześnie bardziej zawężoną niż ta zaproponowana przez Richardsona. Dla Shaftesbury’ego najważniejsza była moralna tematyka w malarstwie, najbardziej cenił tematy historyczne, które najlepiej było pokazywać w dużej skali i z zastosowaniem surowego stylu. Richardson natomiast był bardziej tolerancyjny wobec brytyjskiego upodobania do portretów oraz zmysłowego malarstwa i proponował teorię sztuki, która była po części formalistyczna. Autor podkreślił również znaczenie zrównania przez Shaftesbury’ego zdrowia społecznego i politycznego społeczeństwa z jakością jego sztuki oraz wysunął przypuszczenie, że gdyby Second Characters zostały opublikowane w czasie, gdy powstały, mogliby- śmy teraz uznać Shaftesbury’ego, a nie Winckelmanna za ojca społecznej historii sztuki. Artykuł kończy się założeniem dwóch możliwych skutków opublikowania Second Characters na początku XVIII w. – jednym mógł być silny wpływ na brytyjską sztukę i brytyjski stosunek do sztuki, drugim zaś mogłaby być marginalizacja tego tekstu z powodu bezkompromisowego podejścia Shaftesbury’ego do ówczesnych gustów brytyjskich.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 5-17
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Metoda jako gra. Mieczysława Porębskiego metodologia badań nad sztuką
    Method as game. Mieczysław Porębskis methodology of art research
    Autorzy:
    Kasperowicz, Ryszard
    Powiązania:
    https://bibliotekanauki.pl/articles/707045.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Porębski
    art history
    art theory
    art criticism
    20th century
    Polska
    historia sztuki
    teoria sztuki
    krytyka artystyczna
    XX wiek
    Polska
    Opis:
    Mieczysław Porebski was one of the most important Polish art historians of the twentieth century. An outstanding interpreter of nineteenth and twentieth-century art, he also practiced art criticism in a creative way, and was an organiser of cultural activities – a sympathetic observer of many developments in modern art. The methodology of art history occupies a special place in his scholarzy accomplishments. In contrast to many researchers, who dealt with history and its methods as a humanistic discipline, Porebski developer his own methodology of art research, which he formed under the strong infl uence of methods borrowed from information theory, semiotics, anthropology and structural sociology. As the author of numerous methodological studies, later collected in a large volume entitled Art and Information, he tried to construct a systematic approach to art, beginning with a semiotic (iconic) understanding of the work, incorporated in the system of semiotic and social communication. One of Porebski’s main objectives was to discover a koncept of art as communication, which would allow for a comprehensive view of the story of art, with room for the particular role of moments of structural breakthrough (the crises – the transgressions), modelled on the basis of the achievements of structural anthropology and modern interpretations of myth and times of festivity, operating at different levels in societies characterised by different attitudes to painting, which can nonetheless be encompassed in repetitive patterns and formulas. In giving the work a three-layered structure, centred on the original idea of “morphisms”, Porebski tried to capture the changing functions of art within the framework of the variants of specifi c stylistic codes and communication systems. At the same time, as a methodologist, Porebski was well aware of the restrictions faced by information and semiotic theories when applied to artistic (more generally, visual) images, which build symbolic systems by expressing something and pointing at themselves. Porebski continued to develop his methodology of art research, on the one hand fascinated by the possibilities of adding the rigours of accuracy to it, as is the case with linguistic and semiotic studies, and on the other shaping his decisions under the strong spell of modernity, both on an ideological as well as artistic level.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 41-48
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obecność prac humanisty. O Mieczysławie Porębskim w 2013
    Mieczysław Porębski in 2013, or the presence of the humanists work
    Autorzy:
    Olszewska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/707075.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Porębski
    art history
    art theory
    art criticism
    20th century
    Polska
    historia sztuki
    teoria sztuki
    krytyka artystyczna
    XX wiek
    Polska
    Opis:
    Mieczysław Porebski is considered to be one of the greatest Polish humanists. The history of his undertakings makes us reflect on the permanence and appraisal of intellectual work in Central European culture in the second half of the twentieth century. That is why in this essay I pose questions regarding whether Porebski’s studies still have a presence in contemporary academic circles, the reception of his art criticism, and the lasting effects of his selected curatorial activities. Methods of dissemination and potential continuations of his key projects were taken as the starting point. Comparing the publishing history of Mieczysław Porebski’s major texts and their presence in contemporary reading lists indicates that art studies are not the only areas drawing on the author’s legacy. For his writings are used equally often by literary scholars and representatives of humanism, which are reintegrated under the banner of cultural studies. Comparing their publishing history (the order of editions, the re-editions, the print runs), with their contemporary functioning in academic circulation, shows that the lifespan of works published as books ranges from about 30 to 40 years from the date of the last edition. From more or less the 1990s, Porebski’s scattered texts in the fi eld of art criticism have mainly been referred to in the context of research on the cultural life of the period. Among the mentioned publications, the most important in terms of the author’s reception today seems to be his Iconosphere (Warsaw, 1972, Belgrade 1978; translated by Peter Vujicic, afterword by Rodoslav Doluc). It is a work in which Porebski, in response to the reflections of semiologists of the time, attempting to get to the basics of visual communication, analysed the latter through the category of space and described the differences between the structure of language and the structure of the world of images. Thanks to Porebski, the term “iconosphere” became widely accepted in contemporary Polish humanities. I believe that the author was one of the fi rst to use it in the fi eld of art history, as early as the mid-1960s (the term was probably coined by the philosopher/existentialist Jean Wahl). The publication of the work evidently gave the “iconosphere” durability, at least in the realms of Slavic linguistics. From these observations, we can also draw valuable conclusions as to the lifespan and importance of the museologist’s work in contemporary Polish culture. The effect of Mieczysław Porebski’s curatorial activities, related to the creation of permanent exhibitions of Polish art at the National Museum in Kraków, faded away only recently. In the mid-1970s, his version of the Gallery of Nineteenth-Century Painting and Sculpture in the Cloth Hall took shape. Porebski also realized the Gallery of Twentieth Century Polish Art in the early 1990s. In both exhibitions, he juxtaposed works according to problems, assuming that they are linked by the room space. He thus created sophisticated structures, confronted masters, and willingly referred to places – events from the history of artistic life, grouping works in accordance with major exhibitions. These exhibitions played an important role in their time in defi ning the canon of Polish art of the past two centuries. Their duration was essentially restricted by external factors: the need for restoring the museum interior and stricter standards of copyright law. In the years 2005-2010, both expositions were remodelled by introducing new narratives and, to a varying degree, redefi ning the vision of history earlier proposed by Porebski. On the other hand, a good example of the continuation of his exhibiting concepts was a reconstruction of his private studio, completed in 2011 in the Museum of Contemporary Art in Kraków, under the name Mieczysław Porebski’s Library. Its creation marks a new chapter in the dissemination of the scholar’s work.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 7-25
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Powrót do innej przyszłości. Zmiana koncepcji obrazu w myśli Mieczysława Porębskiego (1948, 1957)
    Return to another future. The change in conception of picture in Mieczysław Porębskis thougth (1948, 1957)
    Autorzy:
    Juszkiewicz, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/707114.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Porębski
    art history
    art theory
    art criticism
    20th century
    Polska
    historia sztuki
    teoria sztuki
    krytyka artystyczna
    XX wiek
    Polska
    Opis:
    In Przeglad Artystyczny which in 1957 distanced itself openly from socialist realism, Mieczysław Porebski (until then the editor in- chief of the magazine) published an article entitled Iluzja, przypadek, struktura (Illusion, accident, structure), a kind of manifesto of the new, abstract painting. In announcing it, Porebski used a lot of ideas and fragments drawn almost directly from his text of nine years’ earlier, written for the catalogue of the First Modern Art Exhibition in the Palace of Fine Arts in Kraków. It might seem that years later the author simply returned to his refl ection on modern art that had been interrupted by socialist realism, and continued it without further hindrance, according to its natural dynamics. But such a way of thinking would not refl ect the truth apparent upon comparing the two texts by Porebski, and would simultaneously be a metaphor for the most common view of socialist realism in Polish art history, as a kind of break in the natural development of artistic creativity, leaving at best an aversion for socially engaged art. An analysis of the changes made by Porebski in the newly adapted parts of the earlier text shows how the socialist realist pressure changed the concept of modern painting formulated in 1957, its spatial structure, and the status of meaning of the work of art.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 51-58
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Literacki Testament Anselma Feuerbacha – wyznania geniusza odrzuconego
    The Literary Testament of Anselm Feuerbach – Confessions of a Rejected Genius
    Autorzy:
    Kownacka-Rogulska, Dorota
    Powiązania:
    https://bibliotekanauki.pl/articles/2082060.pdf
    Data publikacji:
    2021
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    confessions
    art theory
    Konrad Fiedler
    unfulfilled artist
    romanticism
    wyznania
    teoria sztuki
    artysta niespełniony
    romantyzm
    Nauki Humanistyczne i Społeczne
    Opis:
    Anselm Feuerbach był malarzem znanym, choć niepopularnym, po części klasycznym, ale też roman- tycznym i nowoczesnym. Rozczarowany niepowodzeniami postanowił pisemnie przedstawić koncepcję sztuki, którą chciał uprawiać. Przygotowany przez jego macochę, Henriettę Feuerbach materiał – Testament (Ein Ver- mächtnis) – to zbiór nowatorskich, niekiedy prekursorskich myśli o sztuce, często bliskich teoriom Konrada Fie- dlera, ale też nierzadko je porzucających w poszukiwaniu prawdziwej sztuki.
    Anselm Feuerbach was a well-known but unpopular painter, partly classical but also romantic and modern. Disappointed by his failures, he decided to put into writing the concept of the art he wanted to create. The material prepared by his stepmother, Henrietta Feuerbach – Testament (Ein Vermächtnis) – is a collection of innovative, sometimes precursory thoughts about art, often close to the theories of Konrad Fiedler, but also often abandoning them in search for the true art.
    Źródło:
    Rocznik Historii Sztuki; 2021, 46; 79-96
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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