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    Tytuł:
    Inspiracje hermeneutyczne w polskiej historii sztuki po trzydziestu latach
    Hermeneutic Inspirations in Polish Art History
    Autorzy:
    Bryl, Mariusz
    Powiązania:
    https://bibliotekanauki.pl/articles/23338000.pdf
    Data publikacji:
    2023
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    art history
    hermeneutics
    methodology
    reception
    historia sztuki
    hermeneutyka
    metodologia
    recepcja
    Opis:
    Tekst dotyczy procesu recepcji niemieckiej hermeneutyki historii sztuki na terenie polskiej historii sztuki w ostatnich trzech dekadach. Ponieważ autor sam był czynnym uczestnikiem tego procesu, przyjął narracyjną strategię sprawozdawcy, który nie ocenia, nie wchodzi w polemiki, ale porządkuje i problematyzuje, dążąc do tego, by zarysowywany obraz recepcji był możliwie spójny i czytelny. Jest to pierwsza tego rodzaju próba w dotychczasowej literaturze przedmiotu. Opisywana recepcja zaowocowała dużą liczbą publikacji egzegetycznych, które wraz z intensywną działalnością przekładową stworzyły podstawowy korpus tekstów, co w powiązaniu z ciągłością procesu inspiracji/recepcji skutkowało utrwaleniem wśród polskich historyków sztuki świadomości istnienia i znaczenia nurtu hermeneutycznego. Najbardziej spektakularnym wydarzeniem procesu recepcji była kilkuletnia polemika dotycząca fundamentalnych kwestii metodycznych naszej dyscypliny.
    The text concerns the process of reception of German hermeneutics of art history in Polish art history over the last three decades. As the author was himself an active participant in this process, he adopted the narrative strategy of a reporter, who does not judge and does not enter into polemics, but organizes and problematizes issues, striving to make the outlined picture of their reception as coherent and legible as possible. This is the first attempt of its kind in specialist literature to date. The reception described herein has resulted in a large number of exegetical publications, which, together with an intense translation activity, have created a basic corpus of texts; this, in connection with the continuity of the inspiration/reception process, has had the effect of consolidating the awareness of the existence and importance of the hermeneutic current among Polish art historians. The most impressive event of the reception process was a polemic that lasted several years and concerned fundamental methodological issues of our discipline.
    Źródło:
    Biuletyn Historii Sztuki; 2023, 85, 4; 5-30
    0006-3967
    2719-4612
    Pojawia się w:
    Biuletyn Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Recepcja motywów antycznych we współczesnej sztuce na przykładzie twórczości artystów: Léo Caillarda i Ayali Serfaty
    Reception Ancient Motives in Contemporary Art by the Example of Creativity of Artists: Léo Caillard and Ayala Serfaty
    Autorzy:
    Michalska, Adriana
    Powiązania:
    https://bibliotekanauki.pl/articles/648710.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    reception
    ancient motives
    contemporary art.
    Léo Caillard
    Ayala Serfaty
    antique motives
    design
    designer
    modern art.
    classic art.
    sculptural art.
    antique tradition
    modern culture
    Opis:
    The objective of this article is to define place and role of antique motives in modern art and design. Due to variety of creativness in XX/XXI century, created in different trends and beyond them, considerations were limited to sculptural art and design, based on creativness of French artist Léo Caillard and Israeli designer Ayala Serfaty. Interpretation of information, which was collected based on study of artists’ works of art, lead to conclusion that, despite different approach to antique tradition, both artists strive to similar targets and their intention is not imitation, but concept based on creation of surprising or even shocking links and juxtapositions. Research of contrasts between tradition and modernity is intended to provoke and encourage viewer to deeper and conscious interpretation of works of art and reflection about position of art in modern culture. It is essential to study esthetic contexts, circumstances of creation of works of art and motivation. The most important feature of this art is to induce strong impressions. Relations between viewer and work of art have crucial meaning. Approximation and logic of thinking, which are characteristic for each research orientations in history of classic and modern art, represents theoretical background of this article. In this context, there are references to Joachim Winckelmann, recognized as creator of methodological basics for researchment on ancient art. There are references to Franz Wickhoff, Aby Warburg and Erwin Panofsky who dealt with iconographical and iconographical-iconological methods.
    Źródło:
    Collectanea Philologica; 2018, 21; 143-151
    1733-0319
    2353-0901
    Pojawia się w:
    Collectanea Philologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Inkluzje spraw polityczno-społecznych i światopoglądowych w badaniach z zakresu historii sztuki średniowiecznej. Studia przypadku
    Inclusions of socio-political matters and matters considered in terms of outlook in the medieval art history research. Case studies
    Autorzy:
    Waszak, Przemysław
    Powiązania:
    https://bibliotekanauki.pl/articles/2195288.pdf
    Data publikacji:
    2016-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    historia sztuki
    średniowiecze
    sztuka
    recepcja
    sztuka a polityka
    historia sztuki a polityka
    interpretacje
    art history
    Middle Ages
    art
    reception
    art and politics
    art history and politics
    interpretations
    Opis:
    Medieval art frequently had political functions. After depicting the scope of political aspects and an example of political thoughts in Ottonian illuminated manuscripts there is an analysis of perspectives on medieval art. For example, point of view at Romanesque architecture can be marked in terms of outlook typical for a particular period. All the more important is the large-scale recent research on Romanesque architecture in Poland. There are attempts at demythologization of art and attempts to free the approach to art from ideology. Two different examples of well-known Gothic equestrian statues were discussed. Approaches to both sculptures and reception of them became politicized. The aim of discussions in this article was to point the political aspects in approach to works of art and in analyses of them. One of the conclusions is that the changing within the space of time political factor should be in many cases taken into consideration. In addition to that, the works of art should always be treated first of all as aesthetic, artistic objects.
    Sztuka średniowieczna nierzadko pełniła funkcje polityczne. Po nakreśleniu zakresu i przykładu aspektów politycznych w iluminatorstwie ottońskim następuje analiza ujęć sztuki średniowiecznej. Podejście do architektury romańskiej może być nacechowane światopoglądem charakterystycznym dla danej epoki. Tym ważniejsze są szeroko zakrojone, przeprowadzane badania obejmujące architekturę romańską w Polsce. Podejmowane są próby demitologizacji sztuki i odideologizowania podejścia do niej. Omówiono dwa odmienne przykłady upolitycznienia odbioru dwóch bardzo znanych gotyckich statui. Rozważania, których celem było wskazanie aspektów politycznych w podejściu do dzieł sztuki w ich analizach, prowadzą do wniosku o konieczności uwzględniania zmiennego czynnika politycznego, ale też zwracania uwagi na dzieła sztuki po prostu jako obiekty artystyczne.
    Źródło:
    Świat Idei i Polityki; 2016, 15; 477-491
    1643-8442
    Pojawia się w:
    Świat Idei i Polityki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Recepcja twórczości Francisa Bacona w sztuce polskiej lat sześćdziesiątych i siedemdziesiątych XX wieku. Rozpoznanie wstępne
    Reception of Francis Bacon’s Paintings in the Polish Art. Introductory Reconnaissance
    Autorzy:
    Zychowicz, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/2121221.pdf
    Data publikacji:
    2009
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    polska sztuka po 1945 roku
    malarstwo polskie
    rzeźba polska
    figuracja
    „nowa figuracja”
    nouvelle figuration
    realizm
    pop-art
    sztuka zaangażowana
    deformacja
    groteska
    egzystencjalizm
    angoisse
    Angst
    recepcja
    intertekstualność
    Polish art after 1945
    Polish painting
    Polish sculpture
    figuration
    New Figuration
    Realism
    Pop-art
    Engaged Art
    deformation
    grotesque
    existentialism
    reception
    intertextuality
    Opis:
    In the mid Sixties New Figuration appeared in Poland. Researchers interested in this chapter of polish art consider the reception of Francis Bacon's paintings as one of the sources of this kind of art. The subject of this article is mainly the painters, whose works show this reception, but also the sculptors. It concentrates on the Sixties and Seventies in Polish painting. At that time in the Polish art we can see a group of artists connected with existentialism. One of the most interesting phenomena is the painting of Teresa Pągowska (1926-2007), this artist, whom was older than others who were also working in the area of New Figuration, already had concrete artistic experience. In spite of similarities between many works of Francis Bacon and Teresa Pągowska, mainly in the composition and shot of the figure (deformed, not complete, dismembered), the works of Pągowska should be considered in their own right particular to her own style. Pągowska processed Bacon's art in an original way. Her distinction from other painters belonging to New Figuration comes from her experience, on the one hand Colorism (polish Postimpresionism), on the other hand – Abstraction, which led her to understand figures as a plastic sign, moving, full of color. In the second half of the Sixties we can find the inspiration of Francis Bacon's art in the paintings of Janusz Przybylski (1937-1998). Bacon in his compositions used spatial frame which was interpreted in different ways. It had been seen as a usual glass cage, confined the human being. The artist admitted that he uses this endeavour to expose a man in a better way. This solution became a kind of an artistic hook and it was taken by other artists. It spread so much that it became a kind of a manner. To avoid narration Bacon sometimes used a form of triptych. This was typically used by him and was imitated almost as often as placing people in a spatial frame. Both hooks were used by Przybylski, whose art in a different way fits in as a style of existentialism. The deformed human beings in the cages should show alienation and the drama of man. This aspect of polish artists' paintings more than others highlights connections with the English master's art. The polish painter of the Sixties and Seventies was not an artist who could be described as self-sufficient from what we can see by viewing their paintings and reading art critics. The reception of Bacon's painting we can also find in the art of a group from Cracow called “Wprost”, especially in the one of their member's art – Zbylut Grzywacz (1939-2004). Grzywacz confirmed that his interest in Bacon's art can be seen in his paintings created in the Seventies. The nature of these adaptations lay mainly in getting compositional solutions typical to Bacon and the original look of the deformed human being. However, the artist also underlined that used by him endeavours of body's deformation were connected with politics so they had a different context than in the work of Bacon. This highlights the large gap between English artists who's art concentrated on universal cases and the public art of the polish artist. Grzywacz painted with speed, carelessly, he just wanted to give us a short message, he didn't care about particular artistic problems. He wasn't a member of this group interested in Francis Bacon. Next to him we should remember Jacek Waltoś (born 1938). In his paintings we won't find such a direct connection with Bacon's art like as is the case with Grzywacz. Waltoś was fascinated by Bacon but he took from him just the ideas concerning problems of a painting's composition. This artist, contrary to other members of “Wprost” was mostly interested in the representation of emotional states, of what is inside the human being. Waltoś, a creator of existential art, feeling incomplete, the loneliness of human being, found in the Irish artist a kind of brother. There was also Wiesław Szamborski (born 1941) who was among the painters inspired by Bacon. In the first years after he finished his studies he exhibited often with Marek Sapetto (born 1939; until 1974). The art of both artists joins with Bacon's art color standardisation of painted surfaces and putting on them strongly deformed human beings. More painters were regarded as inspired by Bacon but there is not a description of their art in this article which is just an introductory reconnaissance of this problem. The image of a human being which was proposed by Francis Bacon turned out to be very interesting also for sculptors centred on existential reflection. The dramatically deformed face occurred to be the best medium to express people's anxieties, their feelings of emptiness and loneliness (Jacek Waltoś, Jan Kucz – born 1936, Wiktor Gajda – 1938, Adam Myjak – born 1947). The Eighties did not have such rich artistic material as can confirm a permanent fascination of Bacon's painting in Poland. It seems that in a world dominated by New Expressionism there is no place for it. Enough to say that the most interesting artist in dialogue with the English painter seems to be Grzegorz Bednarski (born 1954), consequently belonging to Figuration, connected with Cracow's environment. After his debut he moved to the area of existentialism. Nowadays Bacon's work is regarded as a classic. Artists quote his paintings in a conscious way (for example Marek Przybył, born 1961). Bacon happened to be a very popular artist in Poland in the Sixties and Seventies which corresponds with general trends in European art. At this time came after return to show a human being. It appeared New Figuration, antidote on the Abstraction, Conceptual Art and metavisual experiments of the Sixties. Bacon became the father to these new phenomena in art because he brought about a renewed artistic imagination and created a new image of the human being. Moreover, Bacon was regarded as a main representative of art identified with existential philosophy. This painting in a very good way expressed spirits of the time. It reflected Zeitgeist, that climate which was then best shown in the philosophy of existentialism. Bacon's reception in Poland had also local color. English artist's art was assimilated by polish painters, who were interested in politics, what was unfamiliar with Bacon who concentrated on universal problems. It seems that polish artists like thematic art, taking problems concerning a human being and his immediate environment, what constitutes the heritage of our history.
    Źródło:
    Roczniki Humanistyczne; 2009, 56-57, 4; 55-79
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    "The Family of Man" po latach. Wokół krytyki i recepcji wystawy
    The Family of Man a few decades later
    Autorzy:
    Leśniak, Kamila
    Powiązania:
    https://bibliotekanauki.pl/articles/1887883.pdf
    Data publikacji:
    2014
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Edward Steichen
    fotografia artystyczna
    fotografia polska po 1945 roku
    fotografia obca po 1945 roku
    krytyka artystyczna
    recepcja
    reportaż
    socrealizm
    wystawy fotograficzne
    zimna wojna
    artistic photography
    Polish photography after 1945
    foreign photography after 1945
    criticism of art
    reception
    documentary
    socialist realism
    photography exhibitions
    cold war
    Opis:
    The photographic exhibition The Family of Man created by Edward Steichen was for the first time opened in the halls of the Museum of Modern Art in New York in 1955. It was a great commercial success and in the next less than ten years it was shown in 68 countries the world over. In the years 1959-1960 it also came to Poland and owing to its favorable reception became one of the most important turning points in the history of the Polish post-war photography, both artistic and documentary. During the next years the exhibition The Family of Man was also subjected to harsh criticism. The starting point for the present paper is the image of the exhibition that emerges from the Polish writing. The literature of the subject is modest, it consists mainly of small contributions; moreover, there are several works, in which thoughts taken from a few famous critical texts devoted to the exhibition, among others from the texts by Roland Barthes, Susan Sontag, Allan Sekula, are cited without any reflections. Only some Polish researchers interpret these important critical opinions with respect to the specific political and artistic situation that existed in Poland of the 1950s and 1960s (among others socialist realism, Gomuła’s thaw). The present article aims at indicating the profits from a reinterpretation of the exhibition on the ground of the history of Polish photography, and also of Polish culture of the post-war decades. The author tries to indicate the basis for studying Polish reception of the Steichen project. The reflections contained in the present paper are mainly focused on several subjects that are important for the exhibition, like the war, the American politics in the era of the cold war, the family. Moreover, the discussion also points to some aspects of the origin of the exhibition and to the conception of photography that is contained in it.
    Źródło:
    Roczniki Humanistyczne; 2013, 61, 4; 205-240
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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