http://hdl.handle.net/11716/6742 2026-04-30T02:45:28Z 2026-04-30T02:45:28Z Moszkowicz, Mirosława http://hdl.handle.net/11716/6751 2020-06-22T09:43:56Z 2006-01-01T00:00:00Z

Dziecięca interpretacja miasta i przestrzeni Moszkowicz, Mirosława The article comprises research results concerning types of spatial relations and strategies implemented by children in verbal and graphic construction and interpretation of the space of the city and the road. It was established that children verbalise different spatial relations, such as biogravitational, topological, of perspective and of relocation; however, their mutual balance alters in ontogenesis. It was also found, having analysed children’s verbalisations, that children use various strategies to depict space depending on the location and type of activity in its area. The data obtained indicate that it is the space that constitutes the area of their activity that is important for children, and of secondary importance are the perception or intellectual spheres. It can also be noticed that the child’s mind is constantly engaged in analysing various experiences and modifying the image and structure of reality. That is why children change their image of the space in artwork. The results from research lead to the general conclusion that children search for order, which in drawing is represented in simple but logical structures that demonstrate the children’s world image.

2006-01-01T00:00:00Z Popiołek, Irena http://hdl.handle.net/11716/6750 2020-01-23T13:21:46Z 2006-01-01T00:00:00Z

Malarstwo kobiet. Kobiece malarstwo czy babska sztuka? Popiołek, Irena The author of the article considers the problem whether there exists such a phenomenon as feminine painting. Negative answer to that question entails the necessity to use another more accurate expression: women’s painting. She points out that the features commonly associated with the so-called “feminineness”: softness of drawing, subtlety of colour, faintness of form - are equally characteristic of women’s and men’s paining. She emphasizes that the evaluation of each work of art, its authentic value, and its timeless impact, should not be subject to gender categories. Nevertheless, she considers studying other expressions of women’s creativity, especially literary and biographical, in addition to the analysis of the paintings themselves, particularly helpful in the interpretation of women’s art. As evidence of that, the author cites a long list of women artists whose work confirms the importance and the existential drama of their way, the heroism and the choice which they continuously made by drawing, painting, or sculpting. She also encourages to analyse the lot of women graduates of artistic colleges. In conclusion, Irena Popiołek emphasizes that one should pay attention to those elements in the woman’s psyche which make her life discrete, and by the same token they have to make her painting different. It influences its features, permanence of certain motifs, kind of message, moods and emotions surrounding it.

2006-01-01T00:00:00Z Panasiewicz, Alicja http://hdl.handle.net/11716/6749 2020-06-22T09:40:36Z 2006-01-01T00:00:00Z

Światło w sztuce Panasiewicz, Alicja The visible world in which we exist is contained between darkness and light. We see thanks to the light. The light sent from remote sun, rushing in the form of photons at the speed of 30000 km/s, reaching the earth makes it possible for us to see. Over the centuries, many people - philosophers, artists, writers, poets, scholars - have been fascinated by this extraordinary, though common phenomenon. Thanks to scientific findings, we understand optical phenomena, but the metaphysical reception is an incessant source of inspiration for new generations of artists. The greatest interest in light in philosophy, aesthetics, art, and literature can be found in the Middle Ages - paradoxically, called “the dark ages”. The notion of light in aesthetics and philosophy was introduced by Basil the Great of Caesarea and developed by Pseudo-Dioniosius - author of the formula “consonantia et claritas”, St. Augustine, who identified light with spiritual reality, bishop of Lincoln Robert Grossteste, St. Bonaventura, and St. Thomas Aquinas, who stated that light is the most perfect harmony. Over the centuries, many painters strove to grasp light in their art; Georges de La Tour, Rembrandt, Turner, or the Impressionists. In the 20th century art, artists also deal with light, but not as the material, artistic stuff. That artistic trend is called “light art” or “light and space art”, and it has been applied since the 60s of 20th century. It comprises works of art made of materials which generate light, or create light illusions. The precursors of that trend were Father Louis Bertrand Casel (clavessin oculair), Thomas Wilfred (Lumia), and Laszlo Moholy-Nagy (Licht Raum Modulator). The artists of the “light art” trend include Frank Joseph Malina, the group “Zero”, the group “L.A. Glass and Plastic”, Robert Irwin, James Turell, Dan Flavin, Bruce Naumann, and other artists using light in their works, e.g. Kristian Boltansky, Marcel Duchamp, Poles: Andrzej Pawłowski, Antoni Mikołajczyk, Władysław Hasior, Jan Chwałczyk, Julian Jończyk, Mirosław Filonik, Łukasz Skąpski.

2006-01-01T00:00:00Z Borowik, Grażyna http://hdl.handle.net/11716/6748 2020-06-22T09:39:07Z 2006-01-01T00:00:00Z

Artyści i litery Borowik, Grażyna In the 20th century, artistic phenomena change like in a kaleidoscope. The general tendency of total information about everything has not spared art as well, with all the consequences of that. According to the principle of Marshall Me Luhan “the medium of communication is communication itself", in their works artists include all possible extra-artistic codes (among other things, notes, recipes, graphs, maps, bank statements). The need to communicate contents, which transcend the traditional motifs of a landscape, still life, or portrait, in many cases, leads to superseding partially or totally iconic signs with linguistic signs. Verbal puns, as unexpected connections of letters and inscriptions, clusters of randomly associated words mixed with fragments of paintings turned out to be an attractive material for many artists, who in such forms do not find only the ways to enrich the painting texture and matter, but also the possibilities of revealing a different facet of the reality. The letters and words put on canvas, or on various unconventional bases, acquire new meanings, additional symbolic properties; they intrigue, encourage to enter the intellectual and artistic game. The titles of paintings, the inscriptions on, or underneath them possess a peculiar power of penetrating the shapes and forms regardless of the contents which they cany. In the case of abstract paintings, when the iconic communication is insufficient to understand the message properly, titles serve to direct the associations and augment the aesthetic experience of the recipient. The letters are an element which balances and complements the composition. They exist in the painting as a result of a mec hanical reproduction, a hand-written inscription, or a decorative ornament. Linguistic signs and iconic signs, in spite of all the differences, still remain signs. Their structure is determined by the specific relationship to the denoted object and by building the sense, which means that they are subject to the same processes of semantisation and dese- mantisation, and iconisation and deiconisation.

2006-01-01T00:00:00Z