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Tytuł:
Sztuka architektury a sztuka kulinarna
The art of architecture and the art of cooking
Autorzy:
Palej, Anna
Powiązania:
https://bibliotekanauki.pl/articles/2056167.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
sztuka kulinarna
dobry smak
palenisko
identyfikacja regionalna
slow food
culinary art
good taste
hearth
regional identification
Opis:
Sztuka architektury i sztuka kulinarna to dziedziny, pomiędzy którymi znaleźć można liczne związki o charakterze społecznym i przestrzennym. W niniejszej publikacji wymienione zostaną najważniejsze z nich oraz omówione rozwiązania, które promują umiarkowanie w stosowaniu zasobów, przestrzeni i środków estetycznych, bazują na wiedzy wynikającej z kontekstu i ludzkiej skali czy wskazują na konieczność zwolnienia tempa życia, co - w obliczu współczesnych przemian cywilizacyjnych - stanowi szczególnie doniosłe wyzwania.
The art of architecture and the art of cooking are fields, where we can find numerous social and spatial relationships. This publication will enumerate the most important of these and discuss solutions, that promote moderation in using resources, space and aesthetic means, that are based on knowledge arising from context and the human scale, and that points to the necessity to slow down the pace of our lives, which are the major challenges in the face of contemporary civilisational changes.
Źródło:
Teka Komisji Urbanistyki i Architektury Oddział PAN w Krakowie; 2020, 48; 135--147
0079-3450
2450-0038
Pojawia się w:
Teka Komisji Urbanistyki i Architektury Oddział PAN w Krakowie
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:
Powiernicy, kolekcjonerzy, (re)konstruktorzy. Współcześni artyści wobec rzeczy znalezionych
Repositories, Collectors, Memory (Re)Constructors: Contemporary Artists and Found Objects
Autorzy:
Izdebska, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/1373194.pdf
Data publikacji:
2017-01-30
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
art
found object
memory
site-specific art
sztuka
rzecz znaleziona
pamięć
sztuka specific-art
Opis:
The term ‘found object’ refers to an existing object or artifact that contemporary artists use in undertaking memory-related themes in their art. Originally, such objects would not have fit in the category of art, although for their finders they might have had value (for instance, for aesthetic or nostalgic reasons, or due to the object’s originality). By means of the found object an artist comments on contemporary culture, constructing an artistic narration that concerns the past and reveals the memories or identities connected with places and people (for instance, site-specific art or community art). Through art collecting, the revelation or discovery of things from the past, artists become custodians of memory and engage in its reconstruction; this may involve either the ‘small’ personal memory or the collective memory, for instance, one based on the history of a location. In the artistic practices analyzed in the article, things also become a means to influence the course of our activities, by evoking memories and the emotions connected with them, awakening the senses and affecting the course of interhuman relations.
Źródło:
Kultura i Społeczeństwo; 2017, 61, 1; 157-174
2300-195X
Pojawia się w:
Kultura i Społeczeństwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wojsław Molé (1886-1973)
Autorzy:
Sulikowska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/707024.pdf
Data publikacji:
2012
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Molé
art history
Polska
historia sztuki
Polska
Opis:
Vojeslav Mole, a scholar of Slovenian origin (b. Kanal ob Soci, Slovenia, d. Eugene, Oregon, USA), was throughout his life associated with the Jagiellonian University of Cracow, where he was a professor. In 1945, he became Chair of the Department of Art History of Slavonic Nations, and in 1952, of the Department of History of Medieval Art and the Group of Art History Departments. During the years 1956 – 1960 he was director of the Institute of Art History. Mole was a pioneer of Early and Eastern Christian Studies in art. This article focuses on his work published in Polish, since it mostly influenced Polish art history. The majority of Mole’s books on art are university textbooks. Many were written for students. His main interests lay with the genesis of Early Christian art, Byzantine Art and the art of East and South Slavs. Mole explored the relationship between Eastern and Western culture and the evolution of Orthodox art. One of his most interesting publications was the comprehensive paper “Studies on the Art of the First Millennium AD: Art of the eastern periphery of the ancient world during the first half of the First Millennium and its importance to Early Medieval Art”. In it he attempted to identify the cultural components of the beginnings of Early Christian art, which also indirectly impacted on the emergence of Byzantine art and Orthodox Slavonic art. Much of his work from the 1950s and 1960s reveals a Marxist political orientation, promoted at that time; for instance, an interest in national characteristics in art alongside a lack of interest in its religious aspects. Molè’s textbooks have largely lost their value although they are still an interesting testimonial to the past and the identity of 20th-century art history.
Źródło:
Rocznik Historii Sztuki; 2012, 37; 39-48
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Art training and personality traits as predictors of aesthetic experience of different art styles among Polish students
Autorzy:
Pietras, Karolina
Czernecka, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/2129185.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
individual differences
expertise
aesthetic experience
art training
art styles
Opis:
Personality, demographics and art experience proved to play an important role in reactions to visual art. Nevertheless, research attempts that take into account all those factors when determining predictors of aesthetic responses to different artistic styles are quite rare. The study presented here investigates predictors of aesthetic experience across figurative, abstract and contemporary paintings in individuals with varying expertise. Students enrolled in Sport, Humanities and the Arts programmes (N = 181) declared their art exposure and filled out personality measures (Big Five, alexithymia, need for closure). Next participants evaluated three paintings using a tool constructed by the authors to track various dimensions of aesthetic reactions (i.e. negative/positive affective responses, self-references, explicit knowledge and perceived mastery of the artwork). Reactions to figurative painting depended mostly on formal knowledge about arts, not personality traits. Aesthetic perception of abstract art rely not only on art exposure, but also on some individual characteristics (openness to experience, tolerance of ambiguity and ability to identify one’s own emotions and track their source). Reception of contemporary art was predicted mostly by art exposure variables and in the case of negative emotionality by ability to identify one’s own emotions and track their source. Both formal art education and art experience were stronger predictors of aesthetic responses than personality traits, for all art styles and dimensions of aesthetic experience. Personality predictors were significant mostly for abstract art. Personal interest in the arts seems to be as good predictor of aesthetic reactions as formal expertise.
Źródło:
Polish Psychological Bulletin; 2018, 49, 4; 466-474
0079-2993
Pojawia się w:
Polish Psychological Bulletin
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Architekt Luigi Moretti. Od racjonalizmu do "lart informel" - sztuki informelu
The Architect Luigi Moretti. From Rationalism to Informalism
Autorzy:
Viati Navone, A.
Powiązania:
https://bibliotekanauki.pl/articles/1366633.pdf
Data publikacji:
2012
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Luigi Moretti
architektura XX w.
informel
20th century architecture
Informal Art
Opis:
Twórczość wybitnego architekta włoskiego modernizmu Luigi Morettiego (1907-1973) stanowi odbicie jego rozległych zainteresowań. Szczególnie pasjonował go nurt w sztuce nowoczesnej l'art informel - informel - nowy gatunek nazwany tak pod koniec lat czterdziestych przez francuskiego kolekcjonera i krytyka sztuki Michela Tapiè. Art informel - sztuka nieformalna uprawiana przez wielu młodych artystów, m. in. Alberto Burri, Lucio Fontanę, Jacksona Pollocka czy Georgesa Mathieus, wykreowała wówczas różne techniki i gatunki. Jednym z ważnych zagadnień, wokół których ogniskowały się zainteresowania twórcze Morettiego była historia, a szczególnie dzieła Michała Anioła. Inne to: fascynacja przestrzenią wewnętrzną, którą potrafił ująć i opisać jak nikt inny przed nim we Włoszech, oraz zaciekawienie naukami ścisłymi, które kazało mu poszukiwać ich związku z architekturą i sztuką. Morettiego zajmował również odbiór dzieła sztuki w przestrzeni. Poszukiwał właściwych kątów patrzenia, które dawałyby ogólny i szczegółowy obraz struktury architektonicznej.
The work of the eminent Italian modernist architect Luigi Moretti (1907-1973) reflects his wide interests. He was especially interested in the new art form, which was called Informal Art or Art Autre (Other Art), by the French art critic Michel Tapiè at the end of the forties. Informal Art was created by many young artists such as Alberto Burri, Lucio Fontana, the Jackson Pollock and Georges Mathieu. One of the important issues arround which Moretti's creative interests the history, especially the great works of Michelangelo. The others being his attention to the inner space, resulting in the new way to consider it and to describe its qualities as nobody in Italy had before, and his curiosity for science, which led him to explore its possible connection with architecture and art. Moretti was also interested in the conditions of vision, in how the observer perceives a work of art in its general form and in details; therefore, he looked for the correct angles giving a global and a particular vision of a work of architecture.
Źródło:
Kwartalnik Architektury i Urbanistyki; 2012, 57, 2; 3-41
0023-5865
Pojawia się w:
Kwartalnik Architektury i Urbanistyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Skandal artystyczny
The Art Scandal
Autorzy:
Golka, Marian
Powiązania:
https://bibliotekanauki.pl/articles/985751.pdf
Data publikacji:
2013-03-01
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
art scandal
media scandal
kitsch
contemporary art
skandal artystyczny
skandal medialny
kicz
sztuka współczesna
Opis:
Scandals can occur in various spheres of life and can involve customs, religion, politics, or art. Of course, these aspects are sometimes intertwined, but the author’s considerations here concern primarily scandals related to art, both real art scandals and media scandals, their manifestations and effects. The underlying premise is that an art-related media scandal is kitsch in reverse - that is, a marketing action intended to help the functioning of the art market. Under the impact of provocations and media scandals, the system of art’s functioning is undergoing a profound transformation. Although scandals bring art (or at least some of its manifestations) into wider social circulation, it is an extremely trivial and superficial circulation; above all, it is not always adequate to the value of the art offering.
Źródło:
Kultura i Społeczeństwo; 2013, 57, 1; 103-116
2300-195X
Pojawia się w:
Kultura i Społeczeństwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Współczesna forma skandalu artystycznego: czy warto być artystą-skandalistą?
Contemporary Art Scandals: Is Being A Scandalous Artist Worthwhile?
Autorzy:
Szymańska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/985754.pdf
Data publikacji:
2013-03-01
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
art scandal
art
economy of attention
artist
skandal artystyczny
sztuka
ekonomia uwagi
artysta
Opis:
This article contains a sociological analysis of the social phenomenon of the art scandal in the field of visual art. The author first describes the concept of scandal used in the social sciences then defines an art scandal: its dimensions and characteristics. She shows what is necessary to produce an art scandal and why art is one of the areas where scandals most often occur. She also refers to some of the larger scandals in art history, particularly those of recent times.
Źródło:
Kultura i Społeczeństwo; 2013, 57, 1; 117-130
2300-195X
Pojawia się w:
Kultura i Społeczeństwo
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:
Why to organize Art & Science projects at Nencki Institute?
Autorzy:
Szewczyk, Adam
Fabczak, Hanna
Olszyński, Marek A.
Powiązania:
https://bibliotekanauki.pl/articles/704562.pdf
Data publikacji:
2019
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
art
science
biology
Nencki Institute
Opis:
In this paper we described three Art & Science projects organized by the Nencki Institute of Experimental Biology (Polish Academy of Sciences), Marcel Nencki Foundation for the Support of Biological Sciences and the Art Department of the University of Rzeszów. First project, celebrating the 100th anniversary of theNencki Institute, was entitled “Biological imaging: inspiration by invisible world” and took place in Mikołajki in 2017. Next two projects were relating to “Art of Biodiversity” (Rzeszów, 2018) and “Power of Biological Structures” (Przeworsk, 2019). The aim of the projects was to introduce ideas of modern experimental biology to artist. All symposia/workshops were followed by few exhibitions at the Nencki Institute of Experimental Biology, Art Department of the University of Rzeszów, etc. Some of paintings originated during these projects established Nencki Art Collection, collection of modern art at Nencki Institute of Experimental Biology.
Źródło:
Nauka; 2019, 4
1231-8515
Pojawia się w:
Nauka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czy sztuka narodowa może być nowoczesna? Uwagi do genezy polskiego modernizmu
Can national art be modern? Remarks on the genesis of Polish modernism
Autorzy:
Juszkiewicz, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/2082140.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Opis:
The main subject of this article is the concept of national art that was formulated by Jerzy Warchałowski in his texts. In many earlier studies attempts to draw on folk art or to develop a national style or a national formula of modernism were discounted as inferior, provincial or distorted modernism. Meanwhile, the historical interpretation of Warchałowski’s ideas proposed in this paper aims to connect it with the wide stream of post-Enlightenment criticism of modern formation and the multiplicity of initiatives and regenerative programs as well as the multi-faceted and wide-ranging so-called ‘life reform’. Seen from this perspective, the apparent paradoxes of modernism become understandable – the simultaneous presence of elements that are both futuristic and nihilistic, revolutionary and conservative, romantic and classical, the coexistence of an admiration for the technique and also its condemnation, the criticism of historicism and the reaching for tradition, the vision of modern society and the appeal to the primitive way of life. From this point of view, drawing on the resources of the folk culture as the basis of national tradition is situated in the very centre of modernist debates and modern artistic movements. Warchałowski’s concept of decorative art is inscribed in the general modernist vision, defined as a wide-ranging artistic activity aimed at shaping man’s living space, particularly his house or flat. In addition to the aesthetic aspect, the practical (functional) and health-related (hygienic) dimensions of this activity were of key importance to Warchałowski. It was also to have an educational and economic meaning as an important segment of the national economy. The analysis of Warchałowski’s ideas in the text suggests necessary shifts in the genealogy of the Polish modernism. Very important in this regard was the milieu of Kraków’s reformers of art gathered around the Technical-Industrial Museum of Adrian Baraniecki, The Society for Polish Applied Art, and the magazine Architect, influenced by William Morris’s idea of the revival of traditional handicrafts as a tool of the social and national regeneration. The impact of this idea is linked with the direct reception of Hermann Muthesius’s program of renewal of handicrafts and architecture and, more broadly, with Werkbund influencing the artistic, organizational, and publishing practice of that milieu. The latter had its own tradition of reflection on the national culture and folk art and reciprocated the important architectural ideas of Gotfried Semper and the concept of the garden city of Ebenezer Howard, crucial for the members of the Werkbund. The whole of this process was part of the modernist regenerative ideas on the role of art, but also connected art with various reforming contexts related in a more or less direct way to the ‘reform of life’, characteristic of the entire European modernism, especially in the German-speaking countries. Warchałowski’s regenerative idea of drawing on folk roots and basic principles of art to create modern art, which also meant national art, was in the first decades of the twentieth century not so much a unique or an individual concept, but rather a typical way of thinking about the role of art in the modernist movement in Western Europe, and in the countries of the Central and Eastern Europe created after the end of World War I.
Źródło:
Rocznik Historii Sztuki; 2018, 43; 11-27
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Michał Walicki (1904–1966)
Autorzy:
Walczak, Marek
Powiązania:
https://bibliotekanauki.pl/articles/706979.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
WALICKI
Opis:
Michal Walicki (1904-1966) studied Art History at the University of Warsaw (1924-1929), where he received his doctorate. He worked in the Department of Polish Architecture at the Warsaw Technical University, at the Warsaw School of Fine Arts (later the Academy of Fine Arts), at the National Museum, and the Art History Institute of the Warsaw University. After the war he combined work at the Institute of History of Art at the Warsaw University and the State Institute of Art (later the Institute of Art of the Polish Academy of Sciences). Michal Walicki’s academic activities encompassed a surprisingly wide spectrum of subjects, though his particular field of interest was painting. He had a ‘positivist’ temperament, concerned with a painstaking search for new works of art and the collecting of material, and above all with cataloguing and sharing the collections. In texts written before the war he built a firm foundation for the study of panel painting in fifteenth-century Poland, although his narrow national perspective is now certainly difficult to accept. After his employment at the National Museum in Warsaw, he changed his profile of research, focusing on modern painting (particularly Dutch), but also on the best understood popularization and education through art. After the war, he initiated and coordinated the work on a series of syntheses, setting new standards of quality in Polish academic studies. He belonged to the narrow circle of great humanists who could write about art with passion, in a manner accessible and understandable to all. He developed his own, easily recognizable style, impressionistic in character, well-suited to aesthetic experiences.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 127-136
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Społeczne uwarunkowania odbioru sztuki. Pomiędzy dyspozycją estetyczną a pluralizmem nastawień
Social Conditioning of Art Reception. Between Aesthetic Disposition and Pluralism of Attitudes
Autorzy:
Cebula, Michał
Powiązania:
https://bibliotekanauki.pl/articles/427174.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
odbiór sztuki
dyspozycja estetyczna
kompetencja artystyczna
stratyfikacja
kapitał społeczny
sieci
art reception
aesthetic disposition
art competence
social stratification
social capital
networks
Opis:
Pierre Bourdieu pozostaje prominentną postacią nie tylko w socjologii sztuki i kultury, ale socjologii w ogóle. Jego koncepcje są szeroko omawiane i przyczyniają się do generowania licznych, empirycznych i teoretycznych działań w tej dyscyplinie. Jednakże jego spuścizna bywa kwestionowana i bardziej lub mniej modyfikowana. Podążając nowymi ścieżkami badań, autor stara się ocenić, jak dalece twierdzenia Bourdieu o zróżnicowaniu publiczności sztuki, estetycznej dyspozycji i kompetencji artystycznej są aktualne, a jak bardzo wymagają przemyślenia w kontekście współczesnych przemian estetycznych. Bazując na badaniach uczestnictwa w kulturze i preferencjach mieszkańców dużego miasta, pokazano estetyczne wymiary i postawy, które są aktywne podczas kontemplowania sztuki. Zidentyfikowano różne konfiguracje dyspozycji, z nich niektóre (jak konfiguracja „postmodernistyczna”) nie były obecne w pracach Bourdieu. Inne wyniki potwierdzają przypuszczenie, że odbiór sztuki i wiedza związane są z pozycją klasową i zasobami kapitału, włączając kapitał społeczny i indywidualne sieci.
Pierre Bourdieu has been a prominent figure not only in the sociology of art and culture but also in sociology at large. His concepts have been widely debated and have helped to generate a number of empirical and theoretical interventions in the discipline. However, his legacy has been debated and subject to greater or lesser modifi cations. Following the new lines of research, the article assesses to what extent Bourdieu’s claims about differentiation of art audience, aesthetic disposition and art competence are still relevant and to what extent they need to be modified in the context of contemporary aesthetic change. Drawing on a study of cultural participation and preferences of the inhabitants of a large city, the analysis demonstrates the aesthetic dimensions and attitudes that are active in art contemplation. Different dispositional configurations are found, some of which (as the “postmodern” one) have not been recognized in Bourdieu’s account. Other findings corroborate the premise that art reception and knowledge are linked to class position and vary by stock of assets, including social capital and individual networks.
Źródło:
Studia Socjologiczne; 2018, 2(229); 115-145
0039-3371
Pojawia się w:
Studia Socjologiczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Badania sztuki ziem wschodnich dawnej Rzeczypospolitej po 1989 roku
Post 1989 research on the art of the eastern territories of the former Polish-Lithuanian Commonwealth
Autorzy:
Betlej, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/707047.pdf
Data publikacji:
2012
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Ukraine
Ruthenia
Podolia
Eastern Europe
art history
Ukraina
Litwa
Podole
Europa Wschodnia
historia sztuki
Opis:
In this paper the author outlines and describes the proposals and dynamics of research on the art of the eastern territories of the former Commonwealth conducted after 1989 – namely Red Ruthenia and Podolia, the lands lost by Poland in 1945 to the USSR (and now within the limits of Ukraine). Two academic centres dominated in this field: the Institute of Art History of the Jagiellonian University in Cracow and Warsaw’s Institute of Art of the Polish Academy of Sciences and Cardinal Stefan Wyszyński University. Extensive inventory work undertaken from 1992 resulted in the monumental publication “Materials for the History of Religious Art in the former Eastern Territories” (ed. by Jan Ostrowski) including a monographic study of Roman Catholic churches and monasteries in the former Ruthenian, Novogrodek and Vilnius Voivodeships. The magnitude of this multi-volume publication can only be compared to the monumental “Geographical Dictionary of the Kingdom of Poland”, published a century earlier. The present article also includes projects undertaken by other academic centres (primarily inventory work of sepulchral art, as well as numerous other publications, maliny conference proceedings). The role of material research in the field of “first art history” has proven to be very inspiring. Eastern studies have led to many spectacular discoveries and introduced new scholarly material, significantly contributing to the knowledge of Polish art history - mainly in modern art, but also applicable to the artistic heritage of the 19th century and the inter-war period, particularly architecture. An important consequence of the “eastern” inventory work is the training of a new set of art historians (a whole generation even), specialized in the field of inventory and archival research.
Źródło:
Rocznik Historii Sztuki; 2012, 37; 83-91
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
Wyświetlanie 1-15 z 135

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