Przeglądanie według Temat "portret"

Aktualnie wyświetlane 1 - 2 z 2

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.
Realizm radykalny Luciana Freuda
(Wydział Sztuki UR, 2018-12) Boruta, Tadeusz
The article explores the painting of Lucian Freud. The author observes that Freud’s painting is very academic. It is not academicism understood as a trend in art. hedged with rules, hierarchy of themes, the ideal of neo-classical form and the idea of beauty. Indeed, Freud’s painting can be said to be diametrically opposed to any classicizing styles. The author believes the academicism of the artist’s attitude might stem from his style of work taken from the tradition of nineteenth-century art schools. It is reflected in his careful examining of reality. Artistic development is based on hard work, watching nature and studying Old Masters. Lucian Freud is not an avant-garde artist. After his initial fascination with surrealism he avoided any artistic fashions of the past half-century. He does not attempt to change or improve the world with his paintings. He does not fight anyone, nor does he try to engage art in the “correct” social and political ideas. He assumed the stance of a portrait painter, seeing himself as a mere observer. With time, Lucian Freud’s painting would become thicker, more texture-oriented, particularly thickening the paint on the faces and genitals. The bodies, which are again clothed in a thick “painting skin”, are often shown in bold, suggestive poses, often intimate, almost always with a strong expression of existential tension. Presenting nudity in an increasingly bold way, he by no means seeks to shock the viewer with eroticism. The resulting tension stems from the proximity which the artist admits the viewer to through his work, and from the fact the relation is unprotected. Freud’s late work is radical realism, with no meaningful poses, telling gestures, symbolism or lyricism; there is only the painted object, usually a nude figure, and the space of the studio.