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    Wyświetlanie 1-5 z 5
    Tytuł:
    ‘Through a Microscope from a Telescopic Distance’: Witkacy, Cameron and the Photography of Faces
    Autorzy:
    Fedorowicz-Jackowska, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/1788537.pdf
    Data publikacji:
    2021-05-27
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Stanisław Ignacy Witkiewicz (1885–1939)
    Witkacy (1885–1939)
    Julia Margaret Cameron (1815–1879)
    portrait photography
    close-up
    Polish photography
    modernity
    Opis:
    Witkacy was a central figure of the Polish art scene in the first half of the twentieth century. A painter, writer, philosopher, art theorist, and playwright, he also imaginatively played with the photographic medium. This article will show that the most significant part of his photographic practice, carried on since his youth, was centered on faces. Debating the prevailing view that tends to see Witkacy as a lone visionary, I will argue that Julia Margaret Cameron’s photographic portraits inspired the artist’s style and approach to the genre of photographic portraiture.
    Źródło:
    Ikonotheka; 2020, 30; 31-49
    0860-5769
    Pojawia się w:
    Ikonotheka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture
    Autorzy:
    Dzwonkowska, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/628677.pdf
    Data publikacji:
    2010
    Wydawca:
    Fundacja Pro Scientia Publica
    Tematy:
    Modern Sculpture, Photography, Polish Art, Environment, Installation Art, New media, Modern Art
    Opis:
    The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.
    Źródło:
    Journal of Education Culture and Society; 2010, 1, 1; 26-36
    2081-1640
    Pojawia się w:
    Journal of Education Culture and Society
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Defining Reality: Photography and the Surrealist Concept of the Image in Poland in the 1940s
    Autorzy:
    Dworniczak, Kamila
    Powiązania:
    https://bibliotekanauki.pl/articles/1788536.pdf
    Data publikacji:
    2021-05-27
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    realism
    surrealism
    Marxism
    aesthetics
    avant-garde photography
    Polish modernity after 1945
    Opis:
    The text discusses definitions of photography formulated in Poland in the 1940s. The author analyses Zbigniew Dłubak’s series of photographs inspired by the poetry of Pablo Neruda in reference to surrealism, Marxism, and, primarily, to Władysław Strzemiński’s theory of vision. Particular emphasis is placed on the concept of the image shared by Dłubak and Strzemiński, a concept that links the issue of realism with individual expression, allowing for a formal differentiation of representation (abstraction). In consequence, the analysed series by Dłubak is presented as sharing similarities with seemingly formally remote series of collages To My Friends the Jews by Strzemiński. Both demonstrate an ambition to express in the modern form both collective realism as well as individual memory, primarily of the war events. Proposed interpretation suggests that the use and understanding of photography as a medium closely tied to reality had a decisive meaning for the new formula of the image constructed right after 1945 – formula open to experimenting, yet also ideologically radical, addressing the existential problems of the individual involved with the new political order.
    Źródło:
    Ikonotheka; 2020, 30; 113-134
    0860-5769
    Pojawia się w:
    Ikonotheka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    In search of authenticity: The relationship between text and image in Wojciech Tochmanʼs reportage “Eli, Eli”
    W poszukiwaniu autentycznego – relacja pomiędzy tekstema obrazem w reportażu „Eli, Eli” Wojciecha Tochmana
    Autorzy:
    Kicińska, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/2087731.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Polish travel literature
    documentaries
    extreme poverty
    Third World slums
    the Philippines
    text and photography
    ekphrasis
    Wojciech Tochman (b. 1969)
    reportaż
    obraz
    fotografia
    Tochman
    ekfraza
    Opis:
    This article deals with the ekphrastic text/image (photography) relationships in Eli, Eli, Wojciech Tochman and Grzegorz Wełnicki's 2013 reportage from the slums of the Philippine capital Manila. The photos and the ekphrastic texts form a compact whole intended to produce the effect of unvarnished truth. It is this quality, the insistence on bearing witness to the truth, no matter how shocking, that determines the genre of Eli, Eli. The counterpointal arrangement of the images and the accompanying texts open the possibility of aesthetic and ethical discord between the testimony of the photographer and that of the reporter. However, in the end such tensions reinforce and validate the truthfulness of their report. This article discusses the strategy and the techniques deployed by the authors of Eli, Eli to establish a foolproof authenticity of their work.
    Źródło:
    Ruch Literacki; 2020, 5; 529-
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “This is realism, isnt it”? Charles Baudelaire and Cyprian Kamil Norwid on representation
    „Bo jest w tym realizm”? Baudelaire i Norwid o reprezentacji
    Autorzy:
    Siwiec, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/2087234.pdf
    Data publikacji:
    2021
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Comparative literature study
    early modern Polish and French literature
    poetic genres
    realism and moral fable
    photography
    Cyprian Kamil Norwid (1821–1883)
    Charles Baudelaire (1821–1867)
    Norwid Cyprian
    Baudelaire Charles
    Champfleury Jules
    realizm
    fotografia
    dagerotyp
    Opis:
    This article is a comparative study of the aesthetics of Cyprian Kamil Norwid and Charles Baudelaire. The analysis focuses on their use of realistic techniques and metaphors of representation in the context of critical statements about realism (especially the paintings of Gustave Courbet), in which both poets repudiate the notion of pure art as a direct imitation of reality. While they declare that this doctrine is reductive and unworkable, they do, as the article points out, make use of some of its techniques and practical suggestions (i.e. to foreground ordinary, trivial, and arguably ugly objects). Seen from this perspective, the poetry of both Norwid and Baudelaire, the harbingers of modernity, can be situated at an interface of faits divers (shocking tabloid stories) and the moral fable.
    Źródło:
    Ruch Literacki; 2021, 1; 5-25
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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