Warstwy Nr 3 (2019)

URI dla tej Kolekcjihttp://repozytorium.ur.edu.pl/handle/item/6264

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Wprowadzenie - Użyteczność i piękno
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Błoński, Tadeusz; Grzegorczyk, Wiesław
Żyć, aby patrzeć. Refleksje o pięknie i użyteczności
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Nowak, Witold
The paper analyzes the relation between beauty and utility. The author examines those two values using examples from architecture, interior design, hand-icrafts and mass production. He advances the thesis that the order of beauty and the order of utility need not be separated or absolutized, particularly as regards the latter. He distinguishes between utility in a narrow sense, which is meant to satisfy current and basic needs, and utility in a broader sense, where what is beautiful usually turns out useful, as it provides energy to live, brings joy and aesthetic pleasure. Beautiful objects can also enhance social prestige of creators, customers and owners.
Po(d)stawy projektowe
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Mrowczyk, Jacek
The paper discusses the problem of changes in the job of a graphic designer, with a special focus on developing design attitudes. The latter are connected with the constantly redefined tasks set before designers. Mrowczyk’s interlocutors – Tomek Bierkowski from the Academy of Fine Arts in Katowice, and Marcel Benčik from Academy of Fine Arts and Design in Bratislava, are trying to establish e.g. what has shaped their design attitudes, how education influences successive generations and what may be the role of designers in building civil society. The article includes references to among others Victor Papanek, Jorge Frascara and Bruce Mau. The article is illustrated with the works of both experienced designers and Polish and foreign students.
Identyfikacja (tożsamość) wizualna państwa polskiego okiem projektanta
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Włoszczyński, Andrzej-Ludwik
The author presents successive visual changes of the national emblem of the Republic of Poland in the past hundred years, i. e. since regaining independence until now, from the perspective of a professional visual identification designer. He shows how successive experiments with form, changes and modifications of the visual aspect of Poland’s national symbols in the past 100 years have suffered from a major fault – hasty political decisions. Despite long discussions and stipulations by historians and heraldists, indeed, often against them, the decisions made have been flawed, admitting incomplete solutions, from the first attempts to regulate provisional national symbols (pursuant to the Law of 1 August 1919, where the attachment is missing containing the model of the national emblem of the Republic of Poland), to the White Eagle introduced by decree, designed by Zygmunt Kamiński (1927) and contemporary regulations. The author also presents current grass-roots attempts to address the anti-heraldic nature and incongruity of the Polish emblem as regards contemporary requirements of its implementation on various carriers of information and in various technologies.
Nierozłączny duet: socjalistyczne w treści i narodowe w formie
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Stojak, Grażyna
The paper is a reflection on the conditions in which post-war architects had to work in the third quarter of the 20th century. It was a time when the pre-war school of modernist architectural design had been done away with, and trends and achievements of modern European architecture were rejected. Instead, they were replaced with designing guidelines invented in the USSR and ready Soviet patterns. The article shows how architectural solutions of the time were used when building cultural institutions in towns, using the example of three selected culture centres in the former Rzeszów province. The first centres were built with the help of the local Communist Party activists and financial support from large factories: The Stalowa Wola Steelworks Culture Centre in Stalowa Wola (1952), Transport Equipment Factory Culture Centre in Rzeszów (1953) and Transport Equipment Factory Culture Centre in Mielec (1953). They were built from scratch according to Soviet patterns and adapted to the needs of the region.
Historia designu w kontekście kształcenia projektantów
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Kolesár, Zdeno
Does teaching history of design in designer training schools have any sense? This paper argues that if we do not treat history of design as a hermetic academic discipline, it has a potential to significantly complement the process of designer training. With regard to history of design, aside from selected achievements of eminent creators, we need to consider a broader context of the processes of designer thinking and problem-solving. We also need to take into account the media which convey those solutions to producers, consultations and meeting diverse requirements in order to create optimal solutions in specific conditions as regards interdisciplinary relations. History of design tries to present design in historical context, when and where it was created and produced, and also from the perspective of its later development up to the point when history starts to be analyzed. As far as contextualization of designer solutions goes, history coincides with present time. That is why teaching history of design at designer training schools should be deemed well-founded.
Ilustratorki. Analiza wybranych przykładów ilustracji artystycznie wartościowej we współczesnej polskiej książce dziecięcej
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Steliga, Anna
The issue of illustrations in children’s books often comes up in all sorts of publications, at conferences and exhibitions. Therefore it is worth raising the topic of artistically valuable Polish illustrations, which are accessible to the child and have a positive effect on its development. Illustrations shape the aesthetic taste of the child. A properly made picture book makes an integral whole, where the text is inseparable from the image, creating unity. This gives the child an opportunity to have a fuller sense and deeper understanding of what the book is about. The article presents the works of such illustrators as: Ewa Kozyra-Pawlak, Anna Niemierko, Grażka Lange, Elżbieta Wasiuczyńska, Małgorzata Bieńkowska and Marta Ignerska, demonstrating the important role of illustrations in contemporary Polish children’s books.
Projektanci a zrównoważony rozwój: nastąpi ciąg dalszy czy „można zapomnieć”?
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Matos, Pedro Alexandre
Our main goal is to raise designers’ awareness of the importance and urgency of including the sustainability dimension in their projects, trying to minimize the secondary effects of their designs, either in graphic, digital or other areas. Digitalization of everyday life – of social relations, economy and also in design – has been strongly induced in all occidental and capitalist societies, mostly without regarding a critical thought on the different and complex dimensions of its effects. In this process we are also conduced to tendentiously forget critical thinking about printed artefacts that many designers still work with. Taking the case of newspapers, a central medium for democracy, we have a closer look at a print prototype designed to respond to sustainability issues. Here we can find some of the possibilities designers may use to design for sustainability
Powab kształtu. Zarys historii designu samochodowego
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Paczkowski, Przemysław
The test presents the history of evolution of car design until the 1960s, when car styles became functional art of autonomous nature, unaffected by any influences outside automotive industry. The author also discusses style features of a few cars which have become icons of car design.
Litera po literze... Projektowanie kroju pisma Europa Familiaris
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Bieniasz, Katarzyna
This article continues the theme of the author’s MA thesis titled Historical typefaces. The aesthetic qualities of the Cyrillic lettering in the author’s original typeface “Europa Familiaris”. The author discusses the questions of literary inspirations and personal motivations directly connected with the theme of the thesis, like: experience in icon-painting and studying art conservation in Lviv. The article describes major aesthetic models, situating them in historical context, and explains the manner of their transformation. The result of her designing work – the ready typeface – has been described through the angle of the structure of characters as well as major design tasks. The author also analyzes the process of designing a typeface at particular stages, considering the nuances of creative work known to any artist, referring among others to her own experience in painting. She concludes that in terms of method, designing a font does not differ from the work of art conservator, only the tools are different. The text is complete with actual examples of application of the Europa Familiaris typeface and tables showing the secrets of the design work.
Aller plus loin dans vos peintures... O Portrecie Czapskiego Wojciecha Karpińskiego
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Trygar, Barbara
The article analyzes the book A Portrait of Czapski by Wojciech Karpiński. In the first part the author describes Czapski’s life and artistic work and in the second one, his paintings, The Boy in Front of de Staël and Self-portrait in the Mirror (Mirrors). Czapski interprets the world using geometric figures; they help him to show the tension between the sacred and the profane, at the same time marking out the direction and way to genuine values. Czapski experiences beauty the moment he discovers truth in a work of art.
Matryce podróżne
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Perłowska-Weiser, Anna
The paper presents prints as postcards from Israel, with images and texts from the trip. The country is seen not from the perspective of a tourist carrying a guidebook, but one getting off the beaten track. The article presents places worth drawing and putting on metal plates. The theme here is unusual arrangement of things, people and animals transferred to an unfamiliar territory, calibrated, copied and multiplied, retaining their real look, which is called here imagined realism. The traveller’s matrices are covered with fine careful strokes and dots. As a result, reflected in grey and ochre shades, silver and gold, they allude to landscape colouring. Silver is intended exclusively for golden desert urban landscapes.
Via Crucis autorstwa Józefa Jerzego Kierskiego
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Boruta, Tadeusz
Refleksje na temat „mojej” Drogi Krzyżowej
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Kierski, Józef Jerzy
Moje rzeczy
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Tulik, Sylwia
The article is an attempt to answer questions connected with objects, collecting and owning them, and their function. What is an object in a person’s life, how many emotions and meanings does it carry? Is it beautiful or useful and is beauty utility? Why does it define the times it was created in, and why, in the course of time, acquiring meaning, does it become timeless and everlasting? How does a collector make his way in the world of objects, what is his attitude to them? Where is the borderline between the desire to possess and the madness of possessing at all costs? Can the line be drawn? Museum exhibitions and their evaluation; exhibition correctness and viewers’ emotions.
Zatrzymując spojrzenie, pejzażowa konieczność
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Balicki, Jacek
Landscapes belong to the system of symbolic forms. The structure of perceiving and expressing nature through art is manifested first as metahistorical and eternal, second, as a place of human existence, thus historical, solar time. Et in Arcadia ego is close to the reflections of Simone Weil cited by Janusz Krupiński. Beauty is harmony, therefore opposites must coexist; whereas necessity means suffering because in the Pythagorean aesthetics, harmony entails tension suffering is connected with. The world imagined by me, disregarding a concrete object, becomes a kind of painter’s longing, metaphorical and impressionistic, and through contemplation and reflection it is meant to encourage the viewer to explore truth in nature and the truth about man. As Janusz Karpiński observes, the category of a painting is a central category of human world, and landscape is a border case of transformation in which nature enters human world.
O projektowaniu i sztuce
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Błoński, Tadeusz Zdzisław
Based on personal experience in designing and teaching, the author presents his long-standing fascination with product design and functional structures, describing successive areas of activity, i. e. creating form and function in visual art. The author depicts semantic characteristics of the elements of human environment. Of special interest to him is analyzing the functions of particular elements of man’s living space. The article discusses the issues of contemporary art as a specific phenomenon affected by very fast changes brought about by new technologies (digitalization and new media). New possibilities emerge in art along with digital solutions, present in all spheres of human creative activity, like music, literature and visual arts, including forms connected with movement and light.
Łączenie jako naturalny wynik szukania nowych dróg fotograficznego medium
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Błoński, Tomáš Agat
An interesting phenomenon for the author is using the Instagram social networking site, known for large numbers of users presenting personal content through their art work. What is also intriguing in this aspect is combining text (poetry) with photography. The author seeks an answer to the question: what does the Internet offer to an artist? How does it change thinking in photography? What is fascinating here is the possibility of instant publication and getting instant feedback (likes) as well as advertising oneself (hashtags); to a great extent this changes motivation and artwork itself. Instagram has been used by the author to create the work lampyris_insanus as the most natural “tool” for combining visual and written art, to be specific: photography and poetry.
Modele zastępcze
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Woroniec jr, Piotr
The article presents a set of works which are a reflection upon and, to some extent, a summary of the author’s previous accomplishments from the period of his fascination with Constructivism, the austere anti-aesthetic variation of geometric abstraction. An important question here is spontaneity of the painter’s actions or “switching off” consciousness in the creative act, which may lead to surprising results. Correcting chance means lending it author’s qualities. Chance is an important form-creating value in art, particularly modernist art (action painting, Art Informel, Tachisme). At the stage of building the first layer, substitute models used the element of chance through the action-painting method. The spontaneous image corrected at the second stage sanctioned the randomness function of the previous layer of painting matter. Both layers in a permanent dispute formed the outer matter and could exist only as a bond between those actions. For the artist they are a picture of a changing painter’s experience, just like flowing reality changes before our eyes.
Franciszek Prochaska. Sanocki malarz we Francji
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Banach, Wiesław
The author discusses Franciszek Prochaska born on 27 June 1891 in Brzozów, a figure unacknowledged in 20th-century Polish art. The artist is not rated among eminent ones, therefore the interest in his art is slight. Few of his works are known; all the known paintings are kept at the Historical Museum in Sanok. His art works hardly ever appear on the Polish art market. There aren’t any paintings by him in any other museum than the one in Sanok. His prints are far better known; apart from Sanok, they can be found in the National Museum in Warsaw. His woodcuts and illustrations have been discussed in publications by Maria Grońska: Nowoczesny drzeworyt polski and Grafika w książce, tece i albumie.

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Przeglądanie Warstwy Nr 3 (2019) według Data dodania