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Wyświetlanie 1-8 z 8
Tytuł:
Kompozycje przestrzenno-rzeźbiarskie Katarzyny Kobro
THE SPATIAL SCULPTURAL COMPOSITIONS OF KATARZYNA KOBRO
Autorzy:
Utkin, Bolesław
Powiązania:
https://bibliotekanauki.pl/articles/537984.pdf
Data publikacji:
1972
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Katarzyna Kobro
Artyści Rewolucyjni „AR”
„Kompozycja Symetrii”
„Dualizm kontrastów”
„Kontrasty Przestrzeni”
„Sześć Kształtów”
Opis:
In connection w ith th e fo u r th ie th a n n iv e r s a ry of estab lish in g th e R ev o lu tio n a ry A rtis ts ’ G ro u p “AR” being a t th e same tim e a n n iv e rs a ry of fo u n d in g the fir s t Polish G a lle ry of Modern A rt th e Museum of Arts, Łódź, who is co n tin u in g th e a c tiv itie s once s ta r ted by th e Gallery, h a s u n d e rta k e n a se rie s of re s e a rch an d p o p u la riz in g actions. Among th e o th e r aims of th e se actions h av e also b e en se t th o s e to su p p le m en t th e d a ta a lre a d y possessed a n d to g a th e r as fu ll as possible in fo rm a tio n w ith re g a rd to a c tiv itie s of th e “AR” G ro u p whose m em b e rs a n d fo u n d e rs w e re J a n Brzękowski, K a ta rz y n a Kobro, J u lia n P rz y boś, H e n ry k S ta ż ew sk i and W ład y sław S trz emiń sk i. In his p re s e n t a rtic le th e a u th o r d e a ls w ith re s to ra tio n of th e d e stru c te d d u rin g th e World W a r I I sp a tia l sc u lp tu ra l compositions of th e P o lish 20th c en tu ry a v a n t-g a rd e s c u lp tu re r K a ta rz y n a K obro (1898—1951). It is a well known fa c t th a t a ll h e r compositions Kobro based on th e defin ed n um e ric a l se ts th a t su p plied th e basis fo r h e r s c u lp tu ra l co n cep tio n s. According to h e r own words: “... a ll th e e lem e n ts conta in e d w ith in a scu lp tu re should be su b o rd in a te d to a n um b e r as such, an d th e n an d o n ly th e n the sc u lp tu re can be one w o rth y ...” She ap p lied th e n um b e rs in in te g ra te d compositional lay o u ts an d sy stems as, fo r in stan ce, in h e r co n stru c tiv is t scu lp tu re s, th a t a re kn ow n as th e “3/5/8 R a tio ” an d h av e b e en d escrib ed in th e book title d “The Space Composition”. While s ta rtin g his re s to ra tio n of th e fo u r s c u lp tu ra l compositions th e a u th o r of th e p re s e n t was aw a re of c re a tiv e ten d en c ie s in th e a r t of K a ta rz y n a Kobro. A fte r m ak in g a th o ro u g h a n a lysis o f component p a r ts an d of e n tire compositions he ad v an c ed an a ssum p tio n th a t fo r th e ir p ro p e r re s to ra tio n it is n e c e ssa ry to fin d a new “ n um b e r k e y ”. Only as a re s u lt of time -co n sumin g a ttem p ts an d tr ia ls he w as successful enough to re c o n s tru c t th e up to now u n re v e a led in K o b ro ’s compositions n um e ric a l sets, n am e ly th e a rithm e tic an d g eometric p rog ressions. Thus th e following w o rk s could be re co n s tru c ted : “A Composition of S ym m e try ” (see 111. 1, 2, 3), “The D ualism of C o n tra s ts ”, “The C o n tra s ts of S p a c e ” and “The S ix S h a p e s”. Originally, it we re th e fr e e - s ta n ding sc u lp tu re s ex e cu ted in wood, glass, p la s te r of P a ris, an d metal. All th e re s to ra tio n w o rk s w e re c a rried o u t to o rd e r of Museum of A rts, Łódź.
Źródło:
Ochrona Zabytków; 1972, 3; 203-206
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Konstruktywizm i re-konstruktywizm w twórczości Katarzyny Kobro
Constructivism and re-constructivism in the artwork by Katarzyna Kobro
Autorzy:
Sztabiński, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/1194618.pdf
Data publikacji:
2019
Wydawca:
Akademia Sztuk Pięknych im. Władysława Strzemińskiego w Łodzi
Tematy:
rzezba
panopticon
kobro
Opis:
Katarzyna Kobro's artistic and theoretical oeuvre is most often discussed within the framework of the history of Constructivism. The prefix "re" used in the second component of the title of this article is to draw attention to other interpretative possibilities. They take into account either the characteristics of the artist's works that have been ignored earlier or different, contemporary interpretative contexts. The characteristic features of Kobro's sculptures considered here are their smooth integrating into the space (instead of breaking through and conquering typical of Constructivism) and the openness of the possibility to move around in it (instead of directing and disciplining movements). The contexts taken into consideration in this respect are "female aesthetics" and Michel Foucault's critical reflections on the role of space in Jeremy Bentaham's "Panopticon" idea. Both these interpretative perspectives aim at emphasizing the need for freedom in Kobro's sculptures, instead of the previously emphasized features of economics and functionalism
Źródło:
Powidoki - magazyn artystyczno-naukowy; 2019, 2; 16-23
2657-652X
Pojawia się w:
Powidoki - magazyn artystyczno-naukowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Katarzyna Kobro i Władysław Strzemiński: w poszukiwaniu realnej utopii
Katarzyna Kobro and Wladyslaw Strzemiński: in search of a real utopia
Autorzy:
Suchan, Jarosław
Ziębińska-Lewandowska, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/1194547.pdf
Data publikacji:
2019
Wydawca:
Akademia Sztuk Pięknych im. Władysława Strzemińskiego w Łodzi
Tematy:
strzemiński
kobro
wystawa
Opis:
The text, prepared on the occasion of the exhibition "A Polish Avant-garde: Katarzyna Kobro and Władysław Strzemiński" presented at the Pompidou Centre in 2018, captures the artwork of both artists as an attempt to realize a "real utopia". On the one hand, it points to the utopian attitude of Kobro and Strzemiński, on the other hand, however, to the realism present in it. It combines the utopian character with their conviction that artistic activity can contribute to the social change and to the establishment of a new better order, realism – with the awareness that every era, every time demands its own, still new answers to the question of what this utopian order would look like and with the intuition that the advent of a better world will not be achieved as a result of a one-off revolution, but rather as the effect of gradual transformations of both the material reality and the way people think. Thus according to the authors, the concept of "real utopia" understood in this way can be used as a tool to reinterpret the achievements of the couple of Polish avant-guard artists.
Źródło:
Powidoki - magazyn artystyczno-naukowy; 2019, 2; 148-155
2657-652X
Pojawia się w:
Powidoki - magazyn artystyczno-naukowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gest etyczny Katarzyny Kobro
Katarzyna Kobros ethical gesture
Autorzy:
Skalska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/706985.pdf
Data publikacji:
2013
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Kobro
avant-garde
sculpture
20th century
Polska
awangarda
rzeźba
XX wiek
Polska
Opis:
A conversation that took place in 1945 between Katarzyna Kobro (1898–1951) and the Director of the Museum of Art in Łódz, Marian Mi-nich, provides the inspiration for this text and also the axis of its narrative. At that time, the artist had donated several of her pre-war sculptures to the Museum’s collection. The concise remarks made during the meeting referred to the functionalist theory of sculpture and to refl ections on its exposition and reception. Each of these themes will be developed in the text. The purpose of the discussion is to arrive at an understanding of what the term „ethical moment”, which Kobro used at the end of her meeting with Minich, actually means. The question of ethics relates to the shape of human relationships, the latter infl uencing not just the artist’s biography, but also the fate of her sculptures, their display in the Neoplastic Room organized by Władysław Strzeminski. The issue of the maker’s intention, following Mieke Bal, abandoned in studies of artistic output, exists however in pronouncements regarding artistic theory and its ethics, related in Kobro’s case to the idea of functionalism, social utility and the human form of sculpture. Our analysis of Kobro’s nudes and abstract sculptures is thus an attempt to discover the essence of this art’s ethical dimension. The instruments of description are terms taken from Kobro’s theoretical writings and philosophical concepts. An important reference is Martin Heidegger’s lecture “Art and Space”, in which he introduces the concept of sculpture as a body occupying a place in space, spreading itself out in the world. The theory of the relationship between truth and art, sculpture and space, that is fundamental to the Heideggerian triad of building, dwelling, thinking, becomes an important reference in the analysis of Kobro’s concept, the opening of her sculptures to space, the creating of functionalist projects. It also allows us to come closer to understanding the essence of her work’s “ethical moment”, which she called for in her conversation with Minich.
Źródło:
Rocznik Historii Sztuki; 2013, 38; 89-102
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przedszkole według projektu Katarzyny Kobro
Kindergarten designed by Katarzyna Kobro
Autorzy:
Rudzka-Habisiak, Jolanta
Powiązania:
https://bibliotekanauki.pl/articles/1194576.pdf
Data publikacji:
2019
Wydawca:
Akademia Sztuk Pięknych im. Władysława Strzemińskiego w Łodzi
Tematy:
przedszkole
architektura
katarzyna kobro
Opis:
In the interwar period, artists sought to blur the boundaries between art and everyday life and to offer a practical dimension to any artistic activity. Katarzyna Kobro, fond of the Great Avant-garde functionalism, created a sculpture - a small, white "Composition No. 8" - and subsequently, a spatial model based on it, that became a prototype of a functional kindergarten. Regrettably, the practical implementation of the kindergarten was not an option during her lifetime. The Academy of Fine Arts in Łódź chose to commemorate the artist by implementing her project. Accomplishing the kindergarten based on the Kobro's sculpture will be a "living monument" for the artist, a place filled with the buzz of children, full of art and references to the artist's work.
Źródło:
Powidoki - magazyn artystyczno-naukowy; 2019, 2; 184-187
2657-652X
Pojawia się w:
Powidoki - magazyn artystyczno-naukowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Problemy konserwacji neoplastycznego dzieła sztuki
PROBLEMS INVOLVED IN CONSERVATION OF WORKS OF NEOPLASTIC ART
Autorzy:
Rubczyńska, Maria
Powiązania:
https://bibliotekanauki.pl/articles/535274.pdf
Data publikacji:
1971
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
neoplastycy
sala neoplastyczna w Muzeum Sztuki w Łodzi
Piet Mondrian
zasady neoplastycyzmu
Katarzyna Kobro
W. Strzemiński
Opis:
In Museum of Arts, Łódź there are two rooms the walls of which iare covered with the painted decorative motifs designed by an outstanding representative of the Polish neoplastic art Władysław Strzemiński and his disciple Bolesław Utkin. In the same rooms are displayed the paintings, sculptures and pieces of furniture supplying an illustration of the aforementioned trend in art. The preservation of painted decorative motifs on walls presents, however, a great deal of difficulties as they represent quite an unusual problem within the scope of the conservator’s usual practice. Since the preservation of perfectly smooth and uniformly shaded surfaces in particular parts of decoration Is an absolute must, the author suggests that in places where it might prove necessary to recover the losses no stippling should be applied ; instead of this the entire surfaces should be covered with colour matching as much as possible that of original work.
Źródło:
Ochrona Zabytków; 1971, 1; 43-49
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Jedyny słuszny drogowskaz: forma” – Władysław Strzemiński, Katarzyna Kobro a De Stijl
”The only right signpost: form” – WLadysLaw Strzemiński, Katarzyna Kobro vs. De Stijl
Autorzy:
Kurc-Maj, Paulina
Powiązania:
https://bibliotekanauki.pl/articles/1194601.pdf
Data publikacji:
2019
Wydawca:
Akademia Sztuk Pięknych im. Władysława Strzemińskiego w Łodzi
Tematy:
strzemiński
kobro
łódź
konstuktywizm
Opis:
The Polish avant-garde and the group De Stijl were not only connected by a similar time of activity, but also by a common goal consisting in a plan to create a new and to some extent autonomous artistic culture based on abstraction, which would become the basis for modernization of the environment. The relations between the Polish artistic milieu and the Dutch avant-garde date back to the 1st International Congress of Progressive Artists in Duesseldorf in May 1922. The most important, however, are those which found their expression later, in the mid-1920s, and combined the works of De Stijl and the pioneers of the Polish constructivist avant-garde in Poland, Władysław Strzemiński and Katarzyna Kobro. The article focuses on the analysis of the attitude of these two artists to the legacy of De Stijl and the impact the Dutch art had on their creative work, in particular on their concept of composition of space and functionalism and the importance of shaping artistic forms
Źródło:
Powidoki - magazyn artystyczno-naukowy; 2019, 2; 156-165
2657-652X
Pojawia się w:
Powidoki - magazyn artystyczno-naukowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Koluszki. Niedokończony projekt Strzemińskiego
Autorzy:
Jaśkiewicz, Mateusz
Powiązania:
https://bibliotekanauki.pl/articles/26850706.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych im. Władysława Strzemińskiego w Łodzi
Tematy:
strzemiński
kobro
koluszki
dom
edukacja
szkoła
reforma
Opis:
The details of Władysław Strzemiński and Katarzyna Kobro's stay in Koluszki were a white spot in their biographies for many years. The fact that some of Kobro and Strzeminski's activities were associated with the years of their residence in Koluszki indicated that this period was worth special attention. The author based his research partly on the memories of Koluszki inhabitants. He interviewed extensively the descendants of Strzemiński's pupils from schools in Koluszki. He also managed to get access to unknown photographs and school archives. The research and its analysis, which lasted for two years, gave a surprising and completely unknown picture of the life and activity of Kobro and Strzemiński in Koluszki between 1927 and 1931.
Źródło:
Powidoki - magazyn artystyczno-naukowy; 2020, 3; 186-191
2657-652X
Pojawia się w:
Powidoki - magazyn artystyczno-naukowy
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-8 z 8

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