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    Wyświetlanie 1-4 z 4
    Tytuł:
    Ocena potencjału inspiracji artystycznych krajobrazu Kazimierza Dolnego i jego otoczenia
    Assessment of the landscape artistic inspirations potential of the Kazimierz Dolny town and its sourroundings area
    Autorzy:
    Chmielewski, S.
    Chmielewski, T. J.
    Samulowska, M.
    Powiązania:
    https://bibliotekanauki.pl/articles/87642.pdf
    Data publikacji:
    2017
    Wydawca:
    Polskie Towarzystwo Geograficzne
    Tematy:
    kulturowe usługi ekosystemowe
    potencjał krajobrazu
    inspiracje artystyczne
    Kazimierz Dolny
    cultural ecosystem services
    landscape potential
    artistic inspirations
    Kazimierz Dolny town
    Opis:
    Współczesne metody oceny walorów estetycznych krajobrazu bazują na danych ilościowych (np. formy ukształtowania i pokrycia terenu), jakościowych (np. badania opinii publicznej) oraz odnoszących się do wrażeń emocjonalnych (np. krzywa wrażeń Wejcherta). Przyjmując hipotezę, iż prace malarskie oraz fotografia krajobrazowa stanowią źródła danych o przeżyciach estetycznych związanych z pejzażem, zaproponowano metodę oceny potencjału inspiracji estetycznych (artystycznych) krajobrazu. Badania prowadzono w Kazimierzu Dolnym. Analizowano odwzorowujące te tereny prace malarskie zgromadzone w tutejszych galeriach sztuki oraz prace fotograficzne zawarte w 2 albumach fotograficznych. Liczono, ile razy poszczególne miejsca i obiekty były uwieczniane, a liczbę odwzorowań przyjęto za wskaźnik potencjału inspiracji estetycznych/artystycznych krajobrazu. Przestrzenną zmienność wskaźnika przedstawiono w formie kartogramów zbudowanych na podstawie systemu jednostek architektoniczno – krajobrazowych.
    The current methods of aesthetic landscape value assessment base on quantitative data (eg. landform and landcover), qualitative data (eg. public opinion surveys) but also information related to emotional impressions (eg. Weichert’s experience curve). Based on the hypothesis that paintings and photographs are the source of information about the aesthetic experience associated with the landscape, we proposed a method of the aesthetic landscape value assessment. The research was done in Kazimierz Dolny. It was based on paintings collected in the local art galleries and the photographic works presented in two photo-albums of Kazmierz Dolny. It was registered how many times each particular place or object had been immortalized in the analyzed works. The number of these images was considered as an index of the landscape aesthetic inspiration potential. The spatial distribution of the elaborated index was presented as cartograms of basic landscape units.
    Źródło:
    Prace Komisji Krajobrazu Kulturowego; 2017, 36; 33-46
    1896-1460
    2391-5293
    Pojawia się w:
    Prace Komisji Krajobrazu Kulturowego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    AWANGARDA, TOTALITARYZM, GLOBALIZACJA: WSPÓLNE DOŚWIADCZENIE? WYBRANE ZAGADNIENIA SZTUKI XX WIEKU NA UKRAINIE I W POLSCE
    AVANT GARDE, TOTALITARIANISM, GLOBALISATION: COMMON EXPERIENCE? SELECTED ISSUES OF XX CENTURY ART IN UKRAINE AND POLAND
    Autorzy:
    Kal, Elżbieta
    Powiązania:
    https://bibliotekanauki.pl/articles/566468.pdf
    Data publikacji:
    2019-01-23
    Wydawca:
    Akademia Pomorska w Słupsku
    Tematy:
    sztuka Ukrainy
    malarstwo XX wieku
    awangarda
    socrealizm
    globalizacja
    inspiracje artystyczne
    ecykling kulturowy
    Ukrainian art
    painting of 20th century
    avant garde
    social realism
    globalisation
    artistic inspirations
    cultural recycling
    Opis:
    The text constitutes a reference to the article on applying social realism discourse in pop-art and modern popular culture (“Ars inter Culturas” 5 (2016): 209-239) and an elaboration by means of including Ukrainian art. It reminds about Ukrainian artists’ contribution to the development of the avant garde of the first half of 20th century and social realism ideas of involvement, “growing of art into” life as well as its presence in various areas of social practice. It also recalls the mediatory role of Władysław Strzemiński between Russian and Polish avant garde. Furthermore, on the basis of examples the author analyses formal strategies adopted from avant garde by the output of social realism, points to iconographic patterns of Ukrainian works from which Polish artists got inspiration according to their programme and critics’ recommendations. Also, differences resulting from the relations between patternmutation are important, as well as the duration of the doctrine which was in force from the first half of the 30s to the end of the 80s of the 20th century in Russia while in Poland in the years of 1949/50-1954/55. In both countries, it had important but different consequences, which results in different attitudes to realism as a general artistic strategy. Contemporary communication and globalisation processes have led to standardisation of visual language also in post-soviet countries, and internet memes play a significant role in it. In the world of the Internet, the elements of social realism discourse become memes detached from old meanings, lose their historical and political sense, become an element of entertaining exoticism which enhances forgetting about an oppressive character of the doctrine which, especially in Ukraine, has led not only to the exclusion but also to the extermination of artists.
    Źródło:
    Ars inter Culturas; 2018, 7; 145-188
    2083-1226
    Pojawia się w:
    Ars inter Culturas
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Tam, gdzie podążał Szymanowski, zmierzam i ja”
    Autorzy:
    Malecka, Teresa
    Powiązania:
    https://bibliotekanauki.pl/articles/668987.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Karol Szymanowski
    Henryk Mikołaj Górecki
    history of Polish music
    artistic activities
    inspirations
    intertextuality
    historia muzyki polskiej
    twórczość
    inspiracje
    intertekstualność
    Opis:
    There has been no greater contrast of personality, biography, worldview, and lifestyle. And yet there is no end to similarities, proximities, even kinship; great was Górecki’s fascination with Szymanowski.First was the score of Beethoven’s Ninth, bought for the money earned by selling a ping-pong racket; but Górecki then spent his first savings on Chopin’s Impromptus and Szymanowski’s Mazurkas. He would recount later: “I still have these scores, and that is how my strange story begins: Beethoven’s Ninth Symphony, Chopin’s Impromptus and Szymanowski’s Mazurkas.”28 Yet apart from Górecki’s fascination with Szymanowski music and oeuvre, there is another link still. Both artists fell in love with Podhale, the Tatra Mountains and the culture of the region; so much that its main spa, Zakopane, became their second home. This went hand in hand with their fascination with the music of Podhale.The focal point for Szymanowski’s impact on Górecki brings together two masterpieces of sacred music: Stabat Mater and Symphony of Sorrowful Songs.Stabat Mater is one of Szymanowski’s few religious works; Górecki’s Sorrowful Songs are one of the many sacred works written both before and after the Symphony. Yet they are both instances of the highest artistry, of the apogee in their author’s creative achievements.Outside explicit examples of correlation between the work of Szymanowski and Górecki, there is an analogy between them of a more general nature. Taking into account the historical situation in which the two composers lived and worked, and the meanders of Polish music of the 20th centuries, the stylistic breakthrough that took place both in Szymanowski – before his Stabat Mater – and in Górecki – before his Third Symphony – was of tantamount import to establish their rank and their position in the history of Polish music.
    There has been no greater contrast of personality, biography, worldview, and lifestyle. And yet there is no end to similarities, proximities, even kinship; great was Górecki’s fascination with Szymanowski.First was the score of Beethoven’s Ninth, bought for the money earned by selling a ping-pong racket; but Górecki then spent his first savings on Chopin’s Impromptus and Szymanowski’s Mazurkas. He would recount later: “I still have these scores, and that is how my strange story begins: Beethoven’s Ninth Symphony, Chopin’s Impromptus and Szymanowski’s Mazurkas.”28 Yet apart from Górecki’s fascination with Szymanowski music and oeuvre, there is another link still. Both artists fell in love with Podhale, the Tatra Mountains and the culture of the region; so much that its main spa, Zakopane, became their second home. This went hand in hand with their fascination with the music of Podhale.The focal point for Szymanowski’s impact on Górecki brings together two masterpieces of sacred music: Stabat Mater and Symphony of Sorrowful Songs.Stabat Mater is one of Szymanowski’s few religious works; Górecki’s Sorrowful Songs are one of the many sacred works written both before and after the Symphony. Yet they are both instances of the highest artistry, of the apogee in their author’s creative achievements.Outside explicit examples of correlation between the work of Szymanowski and Górecki, there is an analogy between them of a more general nature. Taking into account the historical situation in which the two composers lived and worked, and the meanders of Polish music of the 20th centuries, the stylistic breakthrough that took place both in Szymanowski – before his Stabat Mater – and in Górecki – before his Third Symphony – was of tantamount import to establish their rank and their position in the history of Polish music.
    Źródło:
    Pro Musica Sacra; 2013, 11
    2083-4039
    Pojawia się w:
    Pro Musica Sacra
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    ZJAWISKO MIĘDZYKULTUROWYCH INSPIRACJI W TWÓRCZOŚCI WSPÓŁCZESNYCH KOMPOZYTORÓW ŚRODOWISKA GDAŃSKIEGO
    THE PHENOMENON OF MULTICULTURAL INSPIRATIONS IN WORKS OF MODERN GDAŃSK COMPOSERS
    Autorzy:
    Schiller-Rydzewska, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/566602.pdf
    Data publikacji:
    2015
    Wydawca:
    Akademia Pomorska w Słupsku
    Tematy:
    Gdańsk
    kompozytorzy współcześni międzykulturowe inspiracje
    muzyka gdańska
    środowisko kompozytorów gdańskich
    muzyka Trójmiasta i regionu Pomorza
    modern composers
    multicultural inspirations
    music in Gdańsk
    Gdańsk’s composers milieu
    artistic milieu
    music in Tricity and Pomerania
    Region
    Opis:
    Multicultural inspirations in the works of modern composers from Gdańsk are phenomena that became a part of tradition, social structure, geographical situation, and the history of Gdańsk. In the diversified musical environment of the post-war Gdańsk, the three groups of composers active in the city are recognized. The first group includes the native- born composers; the second group consists of composers who came from different parts of Poland and settled in Gdańsk; the third group (the most difficult to compartmen talize) includes composers temporarily living in the city. The examination of artistic achievements of Gdańsk composers after the Second War World reveals three distinct domains of multicultural inspirations. The first involves cultural fascination with remote places of Europe and the world. The second draws on inspiration from the native folk culture, including the Kashubian folklore. The third domain borrows from the mass culture that aspires to the rank of sophisticated art.
    Źródło:
    Ars inter Culturas; 2015, 4; 121-140
    2083-1226
    Pojawia się w:
    Ars inter Culturas
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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