Warstwy Nr 3 (2019)

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

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Przeglądanie Warstwy Nr 3 (2019) według Temat "art"

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  • Obrazek miniatury
    Pozycja
    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.
  • Obrazek miniatury
    Pozycja
    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.