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Wyszukujesz frazę "Aleksander Gierymski" wg kryterium: Temat


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Tytuł:
IMPRESJONIZM ALEKSANDRA GIERYMSKIEGO NA PODSTAWIE KONSERWATORSKICH BADAŃ OBRAZU CHŁOPIEC NIOSĄCY SNOP
THE IMPRESSIONISM OF ALEKSANDER GIERYMSKI UPON THE BASIS THE CONSERVATION STUDIES OF THE PAINTING 'BOY CARRYING A SHEAF'
Autorzy:
Doleżyńska-Sewerniak, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/537864.pdf
Data publikacji:
2007
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
GIERYMSKI ALEKSANDER ('BOY CARRYING A SHEAF')
Aleksander Gierymski
Chłopiec niosący snop
impresjonizm
malarstwo francuskie
technika fałszywych kolorów
kontrast symultaniczny
prawo kontrastu sukcesywnego kolorów
prawo barw komplementarnych
Opis:
A presentation of the painting 'Boy Carrying a Sheaf' by Aleksander Gierymski as seen by a conservator-technologist. Historians of art regard this composition to be one of the first and most important Impressionist works in the oeuvre of an artist who experimented with painting techniques. It was precisely the manner of executing this canvas that betrayed inspiration by French painting, which became the reason for subjecting the composition to interdisciplinary conservation research intent on demonstrating the analogies of its technique and technology with Impressionist art. Up to now, 'Boy Carrying a Sheaf' had not been the object of meticulous interdisciplinary analyses. The conducted investigations made it possible to identify the painting material applied by the artist and the manner of his painterly approach. They displayed a number of essential workshop features characteristic for Gierymski's oeuvre, such as familiarity with the properties of the used material and the techniques applied for the purpose of attaining the planned effect. The studies also revealed that Gierymski was acquainted with technical novelties of the period and sought individual workshop solutions, confirmed by his treatment of technology, stressed by historians of art, and the aptness of the laudatory appraisal of his works, formulated by the history of art.
Źródło:
Ochrona Zabytków; 2007, 4; 67-80
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
L’artista e i “luoghi della memoria”. Padova nelle illustrazioni di Aleksander Gierymski pubblicate sulla stampa
Artist and “sites of memory”: padua in press illustrations by Aleksander Gierymski
Autorzy:
Zarzycki, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/1929883.pdf
Data publikacji:
2021-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Padua
Aleksander Gierymski
Polish illustrated press
sites of memory
polonica
Padova
stampa illustrata polacca
luoghi della memoria
Opis:
In the article, four illustrations by Aleksander Gierymski are described. These illustrations were completed for the illustrated press during Gierymski’s sojourn in Italy from 1885 to 1886. These illustrations were typical of the “Polish traces in Italy,” relating to Padua in this case, and were published in the magazines Wędrowiec and Kłosy. These illustrations show the tombs of exceptional Poles who were buried in Padua; commemorative plaques dedicated to them (in honour of Copernicus); or the monuments of Prato della Valle (Sobieski and Batory). However, in the article, based on the illustrations and the accompanying texts, and based on the artist’s correspondences (with the likes of Józef Ignacy Kraszewski, Michał Wiszniewski, Stanisław Dunin-Borkowski, and Władysław Bełza) and his diaries relating his time in Italy, the following issues, amongst others, will be addressed: Gierymski’s work method; the discourse (including the visual discourse) of “Polish traces in Italy” in Padua; Gierymski’s illustrations as an interpretation of the Polish lieux de mémoire in Italy. The article encourages an adoption, in the future, of a wider perspective that includes the illustrations of the “Polish traces in Italy” of other Polish artists from that period.
In questo articolo vengono descritte quattro illustrazioni realizzate da Aleksander Gierymski per la stampa illustrata durante il suo soggiorno in Italia dal 1885 al 1886. erano illustrazioni tipiche di “tracce polacche in Italia”, in questo caso relative a Padova, e pubblicate sulle riviste: Wędrowiec e Kłosy. esse mostrano le lapidi funerarie di eccezionali polacchi sepolti a Padova, quelle commemorative a loro dedicate (in onore di Copernico), oi monumenti di Prato della Valle (Sobieski e Batory). Pertanto, nell’articolo, basato sulle illustrazioni e sui testi di accompagnamento, sulla corrispondenza dell’artista e sui testi di viaggio in Italia (di Józef Ignacy Kraszewski, Michał Wiszniewski, Stanisław Dunin-Borkowski e Władysław Bełza), sono state affrontate, tra le altre, le Padova nelle illustrazioni di Aleksander Gierymski pubblicate sulla stampa 109 seguenti questioni: il metodo di lavoro di Gierymski; il discorso (anche quello visivo), “le tracce polacche in Italia” a Padova; le illustrazioni di Gierymski come interpretazione del lieu de mémoire polacco in Italia. L’articolo invita ad adottare in futuro una prospettiva più ampia: le illustrazioni delle “tracce polacche” in Italia” di altri artisti polacchi di quel periodo.
Źródło:
Italica Wratislaviensia; 2021, 12.2; 87-109
2084-4514
Pojawia się w:
Italica Wratislaviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

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