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    Wyświetlanie 1-9 z 9
    Tytuł:
    Ten „zły” Berman? Słowo o książce Piotra Rypsona
    The “Evil” Berman? On the Book by Piotr Rypson
    Autorzy:
    Więcek-Gigla, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/534674.pdf
    Data publikacji:
    2019
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    Berman
    photomontage
    graphic design
    propaganda
    Opis:
    he text discusses a monograph by Piotr Rypson about Mieczysław Berman. When we consider Czerwony monter [The Red Assembler], however, we need to refer to a concept that is closely akin, namely, Andrzej Leder’s take on revolution. What is underscored here is Berman’s composite photographs since, as the author of this discussion believes and expands upon in her text – they depict most accurately the times of the photo designer’s life. He is considered the creator of the communist propaganda’s graphical language. And that is probably why a considerable period has had to elapse before he became again considered “worthy” of the scholarly interest. It seems, in this day and age, important to reconsider the works of this world-renown “assembler” of red propaganda, merely in order to trace the remnants of his style in the graphic-design culture of today.
    Źródło:
    Śląskie Studia Polonistyczne; 2019, 13, 1; 179-188
    2084-0772
    2353-0928
    Pojawia się w:
    Śląskie Studia Polonistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ten „zły” Berman? Słowo o książce Piotra Rypsona
    The “Evil” Berman? On the Book by Piotr Rypson
    Autorzy:
    Więcek-Gigla, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/534844.pdf
    Data publikacji:
    2019
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    Berman
    photomontage
    graphic design
    propaganda
    Opis:
    The text discusses a monograph by Piotr Rypson about Mieczysław Berman. When we consider Czerwony monter [The Red Assembler], however, we need to refer to a concept that is closely akin, namely, Andrzej Leder’s take on revolution. What is underscored here is Berman’s composite photographs since, as the author of this discussion believes and expands upon in her text – they depict most accurately the times of the photo designer’s life. He is considered the creator of the communist propaganda’s graphical language. And that is probably why a considerable period has had to elapse before he became again considered “worthy” of the scholarly interest. It seems, in this day and age, important to reconsider the works of this world-renown “assembler” of red propaganda, merely in order to trace the remnants of his style in the graphic-design culture of today.
    Źródło:
    Śląskie Studia Polonistyczne; 2019, 13, 1; 179-188
    2084-0772
    2353-0928
    Pojawia się w:
    Śląskie Studia Polonistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rewolucje Mieczysława Szczuki
    Mieczysław Szczuka’s revolutions
    Autorzy:
    Więcek-Gigla, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/1912992.pdf
    Data publikacji:
    2020-10-23
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    Mieczysław Szczuka
    photomontage
    New Arts
    revolution
    Opis:
    The article presents Mieczysław Szczuka, a visual artist, graphic designer and architect from Warsaw. His activities at the turn of the 20th century greatly contributed to the emergence of New Arts: he was a pioneer of constructivism in Poland, he created the first Polish photomontages, he argued in favour of giving the arts back to the proletariat. His radical, extremely leftist views made him a loner in his hard struggle for a revolution in the arts (and, in the long run, also in the society).
    Źródło:
    Śląskie Studia Polonistyczne; 2020, 16, 2; 1-10
    2084-0772
    2353-0928
    Pojawia się w:
    Śląskie Studia Polonistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Photomontage: Between Fragmentation and Reconstruction of Experience
    Autorzy:
    Weichert, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/451453.pdf
    Data publikacji:
    2020-04-15
    Wydawca:
    Uniwersytet Warszawski. Wydział Filozofii
    Tematy:
    photomontage
    photography
    fragmentation
    reconstruction
    content of experience
    Opis:
    In the twentieth century, due to the development of mechanical reproduction and press, photomontage became a popular means of communication – popular and diverse in its nature and methods of exploitation (considering press in Germany or in the Soviet Union and individual works of art). It is one of the cultural phenomena related to the change of rhythm of life and a sense of its increased pace, and an impression of fragmentation of reality. This article questions the role of photomontage in such an experience. The said role is complex: sometimes photomontage allows for expression of that experience, and sometimes it is meant to evoke it, in the spirit of modernity; it is both a tool of agitation and critique. In order to answer this question I shall assume the approach of Walter Benjamin, who diagnoses the crisis of experience and the loss of storytelling skills – and describes the potential of photography. This potential is differently approached by artists and scholars who point out contradictory purposes and results of using photomontage. Referring to various works of art shall make it possible to define the tensions characteristic of photomontage. Due to its plasticity and the ambiguity of a photograph, and the potential for (de)contextualization and (de)construction, photomontage can function in a hard to understand, rapidly changing world and address the fragmentation of experience.
    Źródło:
    Eidos. A Journal for Philosophy of Culture; 2020, 4, 1; 7-22
    2544-302X
    Pojawia się w:
    Eidos. A Journal for Philosophy of Culture
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Fotoamator: Piotr Śpiewla (1905–1978)
    Photo amateur: Piotr Śpiewla (1905–1978)
    Autorzy:
    Zborowska, Natalia
    Powiązania:
    https://bibliotekanauki.pl/articles/521092.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    Piotr Śpiewla
    amateur historian
    private photography
    photomontage
    Opis:
    The article presents a photographer from the Polish village Zembrzyce, Piotr Śpiewla, who started his adventure with photography in the 1920s. Trying to rediscover his story, the author confronts his image presented in recently published books with the memories he left in peoples’ minds and the image on photographs. The article presents his local social activity, and shows the surprising place he has gained in the history of his village.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2012, 3; 112-126
    2083-7275
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Deir el-Bahari. Temple of Tuthmosis III, campaigns 2012–2013
    Autorzy:
    Dolińska, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/1727680.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Tuthmosis III
    Deir el-Bahari
    temple decoration
    temple architecture
    photomontage
    reconstruction
    Opis:
    In 2012 and 2013 the mission continued research and documentation work, concentrating on scenes located in the Hypostyle Hall, the Bark Room, and rooms D, G and H. Dozens of painted stone fragments were cleaned and protected. Photoscanning techniques were used to improve detailed rendering of the temple. New photomontages were produced and subsequent walls were drawn, joining previously separate scenes.
    Źródło:
    Polish Archaeology in the Mediterranean; 2015, 24(1); 257-264
    1234-5415
    Pojawia się w:
    Polish Archaeology in the Mediterranean
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rzeczywiste czy wyobrażone? Uszkodzenia, ubytki, deformacje posągów antycznych inspiracją dla multimedialnych działań wybranych artystów współczesnych
    Real or imagined? Damages, defects, deformities of the ancient statues as an inspiration for multimedia activities of the selected contemporary artists
    Autorzy:
    Pawełczyk, Dominika
    Powiązania:
    https://bibliotekanauki.pl/articles/967121.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    ancient sculptures
    damages
    defects
    computer photomontage
    fragmentation
    aesthetic deformation
    theatricality of body
    idealization of destruction
    Opis:
    In this article I would like to show the potential of the destroyed ancient sculptures and therefore to explore a variety of new themes and issues that may be generated through re-using the motives by the artists. I was especially interested in creators, who undertook a multimedial game with traditional sculpture representations, using the potential of performance art, photography, digital image processing and computer photomontage. Mary Duffy by her performative actions showed that the deformed body of the ancient sculpture forms also her everyday reality. The damaged statue of “Venus de Milo” has become a useful inspiration for stories about disability and discrimination. Maciej Osika chose the path of fantasy and aesthetisation of the damages. Graphic processed assemblies allowed him to tell us about the perfection of the human body, while Davide Bedoni decided to show that the sculptures can describe the infinite myth of harmony, which defects will be complemented by the portraits of contemporary icons of beauty. The technique of exploring the audience has been chosen by French artist Diane Ducruet by showing “Passengers” to the viewers. The artist used the facial photographs of her loved ones through which fragments of well known, damaged Louvre sculptures are barely noticeable. Ducruet talks about the elusiveness of life by those damaged portraits. Likewise all the artists mentioned above she also blurs the boundaries between what is real and what is imaginary.
    Źródło:
    Collectanea Philologica; 2015, Numer specjalny
    1733-0319
    2353-0901
    Pojawia się w:
    Collectanea Philologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    A Photomontage of Memory: The Role of the Visual in Angharad Price’s “The Life of Rebecca Jones”
    Autorzy:
    Bednarski, Aleksander
    Powiązania:
    https://bibliotekanauki.pl/articles/1804434.pdf
    Data publikacji:
    2019-10-24
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    The Life of Rebecca Jones; Angharad Price; proza walijska; wizualność; fotomontaż; fotografia; ekfraza
    The Life of Rebecca Jones; Angharad Price; Welsh fiction; visuality; photomontage; photography; ekphrasis
    Opis:
    Fotomontaż pamięci. Rola wizualności w powieści „The Life of Rebecca Jones” Angharad Price Celem artykułu jest analiza motywów wizualnych w powieści Angharad Price The Life of Rebecca Jones („Życie Rebeki Jones”). Motywy te obejmują zarówno reprodukowane fotografie, jak i świat przedstawiony: są to ekfrazy oraz wątki związane z malarstwem i niewidomymi braćmi narratorki—tytułowej Rebeki Jones. Narratorka jest postacią fikcyjną, lecz inspirowaną historyczną postacią zmarłej przedwcześnie dziewczynki, której hipotetyczne życie opowiada w dużej mierze, opierając się na autentycznych rodzinnych fotografiach. Ekfrastyczne opisy zdjęć oraz inne odniesienia do postrzegania wzrokowego interpretowane są jako próba nadania narracji fikcyjnej Rebeki walorów dokumentalnych. Mechanizm ten jest porównany do efektu trompe- l’œil, a jego celem jest zamaskowanie przynależności narratorki do świata fikcji literackiej. W ten sposób opowieść nabiera znamion ‘obrazotekstu’—hybrydy medium wizualnego i językowego, na który składają się zarówno elementy historyczne, jak i fikcyjne.
    The article examines the visual aspect of the novel The Life of Rebecca Jones by the contemporary Welsh writer Angharad Price. The book is an imaginary autobiography of the eponymous Rebecca Jones, Price’s distant relative, who died of diphtheria in 1916, aged 11. Apart from Rebecca’s family photographs reproduced in the text, ekphrastic descriptions of a photograph, a painting (by a blind artist) and the video recording of a television programme, the novel problematizes the dichotomy between seeing and blindness. The aim of this essay is to demonstrate how these elements in Price’s novel contribute to the production of meaning by generating tension between two different modes of discourse: verbal and visual. Price’s novel is read as an ‘imagetext’ which, by adopting photographic/visual features, creates an illusion of ‘photographic’ verisimilitude (described as a trompe-l’œil effect). This mechanism is interpreted as the manifestation of the narrator’s struggle to assert her authority as a perceiving subject and the text itself as a site where the memory of place and family history can be preserved.    
    Źródło:
    Roczniki Humanistyczne; 2018, 66, 11; 131-147
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    CIĘCIE NOŻEM KUCHENNYM DADA PRZEZ OSTATNIĄ WEIMARSKĄ, SPASIONĄ PIWEM EPOKĘ KULTURALNĄ NIEMIEC
    CUTTING WITH DADA KITCHEN KNIFE THE LAST WEIMAR AND THE CULTURAL ERA IN GERMANY FATTENED WITH BEER
    Autorzy:
    Grzych, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/487882.pdf
    Data publikacji:
    2016-11-07
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    DADA,
    ANYTHING AND EVERYTHING
    DADAIST PHOTOMONTAGE
    ‘SWEET GERMANY’ IN LIFE AND WORK OF A DADAIST FEMALE ARTIST
    DADA
    NIC I WSZYSTKO
    FOTOMONTAŻ, DADAISTYCZNY
    SŁODKIE NIEMCY JAKO DADA
    ŻYCIE DADAISTKI
    Opis:
    CUTTING WITH DADA KITCHEN KNIFE THE LAST WEIMAR AND THE CULTURAL ERA IN GERMANY FATTENED WITH BEER Is art a kind of childish game? Hanna Höch produced an artistic photomontage. She concentrated on new artistic methods by female artists used in Germany during and shortly after WWI. As the background, there is a socio-mental situation in Germany, which shaped the perception of art by a woman outside traditionalistic, bourgeois environment. Hannah Höch belonged to the Dadaist group in Berlin. The group included the whole array of artists who later gained recognition. Grzych described the Dadaist movement in the context of their origin and philosophy as well as their decline in the forthcoming years. Also, she described the rise of the trends which later destroyed freedom and resulted in national socialism. Is the dying of carefree movements associated with stiffening and brutalization of thinking about politics? The answer to this question is left to the reader, as well as the commentary to that period in art history.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2016, 21; 84-110
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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