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Wyświetlanie 1-2 z 2
Tytuł:
The Influence of Bauhaus Aesthetics and Ideology on the Formation of the Contemporary Artistic and Design Culture
Autorzy:
Zeleniuk, Oleksandr
Powiązania:
https://bibliotekanauki.pl/articles/23050985.pdf
Data publikacji:
2023-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
innovation
functionality
synthesis of art and design
visual communication
industrial design
architecture
practicality
modernism
Opis:
In the scientific article, the author explores the influence of Bauhaus aesthetics and ideology on the formation of contemporary artistic and design culture. It is noted that Bauhaus, which operated during the interwar period in Germany, became a key moment in world culture, promoting innovative approaches and the synthesis of art and design. The article discusses key aspects of Bauhaus, its influence, and relevance to contemporary art, architecture, and design. The progressive ideas of this school, such as the synthesis of art and design, experimental approach, functionalism, and visual communication, are considered in the context of their impact on the development of the artistic and design sphere. The school advocated for the combination of different art forms, the creation of functional and simple forms, and the use of new materials and technologies. Artists inspired by these ideas use the synthesis of art and design to create innovative works. They experiment with forms, materials, and concepts to create unique visual impressions. Contemporary artistic culture reflects the diversity of Bauhaus, adapting its principles to the challenges and opportunities of the 21st century. In addition to art, the author also examines the influence of Bauhaus on contemporary design. The ideas of functionalism and industrial design, emphasizing simplicity and purity of forms, have become the basis for present-day designers. Creating objects that meet the needs of modern life is an essential part of contemporary design trends. The article also investigates how Bauhaus influences architecture. Bauhaus representatives believed that architecture should be functional while embodying aesthetic principles. This concept is reflected in contemporary architectural trends, where simplicity of form and the use of new materials and technologies combine with the desire to create a functional and aesthetic environment. In the conclusions, the author emphasizes the importance of Bauhaus in shaping contemporary artistic and design culture. The influence of Bauhaus is manifested in an open, experimental approach to creativity, the use of new materials and technologies, and a focus on the functionality and simplicity of forms. Bauhaus ideas continue to inspire artists, architects, and designers, contributing to the development of contemporary art and design. All of this highlights the relevance and significance of Bauhaus in the modern world, where the traditions of the past and the innovations of the present come together to create a new dimension of art and design.
Źródło:
Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe; 2023, 8(1); 63-69
2543-9227
Pojawia się w:
Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Sprawa realizmu w plastyce kształtującej”. Design i jego krytyka wobec realizmu socjalistycznego
Autorzy:
Kal, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/1186590.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
design
social realism
decorative arts 1950–1956
formative art
industrial design
The Exhibition of Interior Architecture and Decorative
Art in 1952
design critique
Janusz Bogucki
Cepelia
Nowa Huta
Aleksander Wojciechowski
Wanda Telakowska
Opis:
This text concerns itself with Polish design and its criticism in the period of socialist realism (1949/50–1955). The title refers to a terminological proposal by Janusz Bogucki who looked for new terms for his work in the new system. The division into ‘pure’ and ‘usable’ arts was considered as an anachronism in socialism in which all artistic fields were to fulfil social functions. As optimal, the critic considered a division of arts into the ‘imaging’ (painting, sculpture, and graphic) and ‘formative’ (shaping human surroundings and public space – architecture, decoration and interior fittings, and objects of everyday usage). An intermediate ‘semi-imaging’ form was, for example, represented with a fabric or scenography. Bogucki defined the realism of a masterpiece as something that reflects reality by the use of means other than an image – it shapes and expresses reality. By avoiding unwanted associations with functionalism or constructivism, he showed ‘realistic’ features of objects and things: perspicuity, simplicity of composition, purposefulness and the appropriate usage of material and tools, breaking away from the pre-war ornamentation and avant-garde restraint of shapes. Masterpieces of ‘formative’ art were to fulfil the postulate of a national form; hence, the inspiration with a native tradition, folk art and handcraft was recommended. Crucial propagandistic slogans concerned popularization and ‘democratization’ of art connected with both creation and reception; industrial production pursuant to the models of professional artists as well as the working class, and folk and teen ‘collectives’ managed by them. Chosen institutions served popularization and democratization of socialist art. The 1952 Exhibition of Interior Architecture and Decorative Art and especially the criticism linked with it, regarding the assumptions of socialist realism and gradual abandoning the criteria of the doctrine from around 1954, are presented in this text. Reckoning with the method: during the public thaw (1956–1957), when categories of realism and national form were replaced with the imperative of modernity, constitutes a recapitulation.
Źródło:
Załącznik Kulturoznawczy; 2019, 6; 121-154
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

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