Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Patyra, Jowita" wg kryterium: Autor

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-5 z 5
    Tytuł:
    Wybrane zagadnienia narracji obrazowej na przykładzie Apokalipsy z Angers
    The Selected Issues of Painting Narration from the Apocalypse of Angers
    Autorzy:
    Patyra, Jowita
    Powiązania:
    https://bibliotekanauki.pl/articles/1955671.pdf
    Data publikacji:
    1999
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    The Apocalypse of Angers is the largest and best preserved example of the 14th-century tapisserie historiée. The iconography of the fabrics dates back to miniature painting and is closely linked with the group of illuminated group of Apocalypses made in England and north France in the second half of the thirteenth and fourteenth centuries. The English and French manuscripts reflect many of the then social, cultural and religious transformations, their extended painting scheme points at the same time new directions of the development of Gothic art. It is a characteristic of 13th- and 14th-century apocalyptic iconography, in comparison with the earlier periods, that it had a narrative character. The fact that the Revelations to St. John had a more epic formulation corresponds with the new interpretations of the Apocalypse, as they are contained in the commentaries of the 12th- and 13th-century authors. Moreover, their popularity (as never before) among the rich and educated lay recipients indicates that the new type of an illustrated book, in which the painted part dominated over the written one, fitted into their needs. They spent their time, more and more often, on private devotion. Furthermore, the model of narration which the books represented, in a way, made the visions of the youngest Apostle similar to popular at that time knightly love stories. The representation of the Apocalypse of Angers, modeled on miniatures, to a great extent repeat the narrative pattern developed in the manuscripts. The whole apocalyptic cycle is divided into particular scenes, each of which is a closed, separate and independent whole. The compositions, however, are not static or frontal, but they are revived by the movement of the figures which turn to one another, gesticulate and manifest their emotions. The continuity of narration is secured by the figure of St. John, present in each scene. John plays the role of a narrator; he is an observer, and sometimes a participant of the painted events. The position he occupies in relation to the reality being revealed to him, as well as his vivid reactions, make it that he becomes for the recipient a mediator and personification of the proper perception of the work and its contents.
    Źródło:
    Roczniki Humanistyczne; 1999, 47, 4; 47-66
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zagadnienie średniowiecznej narracji obrazowej. Wybrane stanowiska badawcze
    The Question of Medieval Visual Narration. Chosen Research Attitudes
    Autorzy:
    Patyra, Jowita
    Powiązania:
    https://bibliotekanauki.pl/articles/1955680.pdf
    Data publikacji:
    1999
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    In contemporary reflection on art the traditional, precise differentiation into art that has a temporal character (poetry, music) and spatial one (the arts) that goes back to ancient times and found an emphatic expression in G. E. Lessing's views, loses its position of an axiom. The interdisciplinary research that has been developing often cast a new light on the stereotypes formed in the past. One of them is the question of narration in the arts. As is well known, in his Laokoon Lessing denied the arts the ability to present actions that follow one another in time, admitting that they have the function of showing objects that exist one beside another in space. However, on the other hand, in fact there has always been the conviction that painting is able to illustrate a certain event or a story. It was at the basis of Gregory the Great's famous remark that for common people a picture is the same as writing for those who can read. The question of visual narration already appeared in history of art when the variety of ways was noticed with which artists coming from different epochs or backgrounds dealt with the problem of presenting a sequence of events and the flow of time; however, research on this problem started thriving in the second half of our century. New research perspectives were first of all opened by the deep reflection concerning methodology of history of art, and more broadly – of humanities, that was undertaken then. On the ground of methodology the temporal and spatial arts were brought closer together again. Theoreticians and historians of art as well as linguists and literature specialists contributed to the process. The notions used in theory of literature in many cases proved useful in analysis of visual narration. Investigations by those researchers who assimilated methods and terminology worked out by structural analysis and semiotics that drew on it had a special significance for studies of narration in the arts. Contemporary hermeneutics also contributed a lot to the problem. The present review of chosen research attitudes shows the variety and multitude of directions in which the contemporary reflection on the problem of visual narration goes, on the example of works concerning medieval art. Medieval painting supplies especially vast and interesting material for that kind of research. Not limited, like the later modern painting, by academic rules, it worked out a broad range of means serving visual narration in which the manner of narration corresponded to the character and function of the work.
    Źródło:
    Roczniki Humanistyczne; 1999, 47, 4; 71-84
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Problem narratora w średniowiecznej ikonografii objawień św. Jana na przykładzie Apokalipsy z Angers
    The problem of the narrator in the medieval iconography of St. John’s Apocalypse on the example of Apocalypse of Angers
    Autorzy:
    Patyra, Jowita
    Powiązania:
    https://bibliotekanauki.pl/articles/1954039.pdf
    Data publikacji:
    2004
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Apokalipsa z Angers
    Apokalipsa św. Jana − ikonografia
    sztuka gotycka − XIV wiek
    narracja wizualna
    Apocalypse of Angers
    St. John's Apocalypse – iconography
    Gothic art – the 14th century
    visual narration
    Opis:
    The monumental tapestry dating back to the 14th century with images coming from St. John's Apocalypse, kept at present in the Angers castle, was designed on the basis of the iconographic program of the so-called Anglo-French apocalypses. In the unusually rich cycle of images contained in that group of illuminated manuscripts the figure of St. John is stressed in an unprecedented way. The present text is an attempt at referring the way of presentation of the author and narrator of Apocalypse to the miniature tradition and at pointing to the function of his figure in the narrative structure of the work.
    Źródło:
    Roczniki Humanistyczne; 2004, 52, 4; 129-148
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ikonografia XII rozdziału Objawień św. Jana na tkaninie z Angers
    Iconography of Chapter XII of St. John’s Revelation on the Angers tapestry
    Autorzy:
    Patyra, Jowita
    Powiązania:
    https://bibliotekanauki.pl/articles/2120033.pdf
    Data publikacji:
    2001
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    The tapestry with presentations of St. John's Apocalypse that is at present exhibited in a special gallery in the Angers castle is an extraordinarily interesting work, exceptional because of its technique, monumental size and the fact that its iconography is a transposition of the miniature programme. The series of six tapestries ordered by Louis I, Duke of Anjou, was designed in the years 1373-1382 by the King of France Charles V's court painter, Jean Boudolf, and it was produced in the Paris textile workshop under the supervision of Nicolas Bataille. There is no doubt that the iconography of the Apocalypse of Angers has its origin in miniatures. The programme of the tapestry reveals a connection with illustrations of the so-called „second family” of manuscripts of English-French apocalypses; miniatures from the Burckhardt-Wildt collection are the closest analogy, as has been proven by George Henderson. Not all researchers emphasised the original character of the presentations in the Apocalypse of Angers in the same degree. In looking for the origin of the tapestry's programme attention was paid rather to similarities to particular series of miniatures than to differences. So far no work has been devoted to a detailed analysis of this work's iconography. The present article is an attempt at a closer analysis of several scenes from the fourth of the six parts of the tapestry that refer to Chapter XII of the Revelation, that is ones that illustrate the history of the Woman and the Dragon. A comparison with analogous book illustrations allowed pointing to those elements that the author had borrowed from the tradition of presentation formed in the Gothic series of Apocalypse as well as to his individual contribution. We also tried to explain the meaning of the new iconography of the Apocalypse that was formed in the middle of the 13th century, and especially its relation to the commentaries by Berengaudus of Ferrieres, which allows a better understanding of some motifs that do not occur in the very text by St. John.
    Źródło:
    Roczniki Humanistyczne; 2001, 48-49, 4; 5-26
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zagadnienie czasu przedstawionego w dziełach Wita Stwosza ze szczególnym uwzględnieniem Ołtarza Mariackiego. Zastosowanie kryterium temporalnego w poszukiwaniu analogii stylistycznych sztuki 2. poł. XV wieku
    The Question of the Presented Time in the Works of Wit Stwosz with Particular Regard to the Altar from Our Ladys Church in Cracow. The Application of Temporal Criterium in Search of Stylistic Analogies in the Art of the 2nd Half of the 15th Century
    Autorzy:
    Grodek-Patyra, Jowita
    Powiązania:
    https://bibliotekanauki.pl/articles/1961809.pdf
    Data publikacji:
    1997
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    The question of the presented time is more and more often treated as a separate research problem in the studies on art. The temporality of plastic works may also be a criterium for the considerations on the style of a given period or concrete artists. This is confirmed by the example of Our Lady's church altar in Cracow. The temporal analysis of the structure of the greatest work of Wit Stwosz has become the reason to resume dialogue on the stylistic genesis of the sculptor's artistic work and its kindship with the broader circle of 15th-century art. The internal time of the altar has a multilayer structure; its complex construction corresponds to the rich variety of plastic forms and contents. Among the formal means which create the temporality of presentations, the most important are those which serve to show movement, that is: arrangement of figures, their gestures, composition of figural groups and their location in space, manner of forming draperies of garment. Stwosz's figures are naturally vivid, so there is an illusion of an action taking place, whose course is determined by the lapse of time. Occasionally, however, due to their ceremonial character and pathos, the movement of the figures evokes invariable duration. The whole of reality presented in Our Lady's church altar contains an analogical twofold character. On the one hand Stwosz's realism as to details, meticulously recreating any details and the material structure of things, places the presented events in the changeable and earthly world. On the other hand such factors as: representative character of the scenes, conventional and scenic space, abstract shapes of the drapery, and the like, point to idealistic presuppositions of master Wit's art, and characterize supernatural order, to which the artist's vision is subordinated. In terms of contents the time presented in Cracow retablo develops along two levels as well. The first is the level of narration about the earthly history of Christ and Mary, subordinated to the laws of historical time; the second being the dogmatic contents which reveal the nature of sacred time. In Stwosz's work the two temporal levels converge in the time contemporary to the sculptor, a time introduced by the Gothic forms of the props and architecture. The temporal construction of Stwosz's polyptych from Our Lady's church has its counterpart in Rogier van der Weyden's artistic work. The Netherlandian painter resembles closely Stwosz in the way he combines realism and idealism, action and representation, narration and symbolic contents. Nicholas from Leyden output as well as South German art from the 15th century, which remaind under the latter's influence, were undoubtedly the source of Stwosz's sculptures, yet they show fewer analogies in this respect. The followers of Wit Stwosz's art did not take over his complex and ordained temporal conception, as it was presented in the altar from Our Lady's church in Cracow. They were, above all, inspired by the original formal solutions, as well as decorative effects of folded garments. They adjusted these elements to their own vision of the world in which sacrum and profanum never reached such unity and balance as then did in Stwosz's work.
    Źródło:
    Roczniki Humanistyczne; 1997, 45, 4; 207-256
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies