Temat: illustrations - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Graphic illustrations of Ovid’s Metamorphoses : A selection of the most important executions
Autorzy:: Giełdoń-Paszek, Aleksandra
Powiązania:: https://bibliotekanauki.pl/articles/2138817.pdf
Data publikacji:: 2022
Wydawca:: Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:: Ovid
graphics
illustrations
the Metamorphoses
Opis:: Ovid’s Metamorphoses has inspired artists of various disciplines almost from the very moment of its creation. The poem has been the literary canvas of many paintings. It was particularly popular in the early modern period. Its numerous editions from the Middle Ages were decorated first with miniatures, and, after the invention of printing, with illustrations, made in the technique of woodcut, copperplate engraving, and etching. The composition of scenes known from the poem was based on a simultaneous and multi-thread narration and also, later, focused on one specific moment of the selected episode. The authorship of the illustrations found in early editions remains anonymous. The graphic designers of 16th c. and later editions are known by name: Jörg Wickram, Virgilio Solis, Bernard Solomon, Hendrick Goltzius, Francis Cleyn, Salomon Savery, Godfried Maes, and in the 20th c. Pablo Picasso. Ovid’s poem continues to be interpretated, as evidenced by the works of, for example, Kiki Smith and the Polish queer artist Mikolaj Sobczak.
Źródło:: Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2022, 64, 2; 64-79
1896-4133
Pojawia się w:: Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Merry Pictures of the Little Folk: The Cartoon Magazine Veselye kartinki, or What’s Left of the Socialist “Children’s World”
Autorzy:: Gölz, Christine
Powiązania:: https://bibliotekanauki.pl/articles/450728.pdf
Data publikacji:: 2019
Wydawca:: Uniwersytet Wrocławski. Oficyna Wydawnicza ATUT – Wrocławskie Wydawnictwo Oświatowe
Tematy:: cartoon magazine
post-Stalinist childhood
illustrations
Merry Pictures
Opis:: My paper deals with Veselye kartinki (Merry Pictures), a monthly children’s cartoon magazine launched by the Komsomol in 1956 and dedicated to the youngest generations of the “new socialists” (age 4–8). In its heydays in the early 1980s the magazine reached a circulation of 9,5 million, which indicates that Merry Pictures had become an essential part of post-Stalinist childhood. Generations of small readers found it attractive for several reasons. The journal was indeed comparatively “merry” und funny – not least because it was exempt from censorship, and so it was the only publication of that kind in the Soviet Union. Moreover, among its illustrators were a number of artists who are today well known for their participation in the nonconformist art scene (for example Ilya Kabakov and Victor Pivovarov), which gave the merry pictures their specific visual quality. The magazine proved to be an “image machine” even after the end of the Soviet Union. It survived the Soviet childhood by a good two decades and granted its characters, the little folks, an afterlife in the mass culture of the new Russia. However, this is not only the story of the magazine and its attempt to visually shape a newly created concept, arising with the Thaw, of a merry childhood that entered the currently emerging canon of visual socialism. Rather, there are two other, contradictory understandings of Merry Pictures and its Merry Folks’ Club that can be found currently. According to one, the Merry Folks are considered the first Soviet comic heroes, who were correspondingly free of politics and harmless for their readership. The other regards them as socialist “pathos formulas” in a format for children that populate the art of Moscow Conceptualists as thoroughly ideological Soviet symbols. This paper attempts to augment these two selective “remnants” with the primary history of Merry Pictures and demonstrate a productive arsenal of images and figures was developed over a half-century, precisely in the tension between everyday free spaces and political stipulations.
Źródło:: Filoteknos; 2019, 9; 138-155
2657-4810
Pojawia się w:: Filoteknos
Dostawca treści:: Biblioteka Nauki