Warstwy Nr 3 (2019)

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

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Aktualnie wyświetlane 1 - 20 z 58

10. edycja Triennale Grafiki Polskiej – Katowice 2018
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Lech-Bińczycka, Agnieszka
100 FLAG na stulecie uzyskania praw wyborczych przez kobiety
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Sawicka, Jadwiga
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.
Dwugłos o wystawie Jadwigi Sawickiej
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Iskra-Paczkowska, Agnieszka; Makiel-Hędrzak, Marlena
Dźwięczna cisza
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Janowska-Augustyn, Joanna
Eastern Design Conference
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Tomaschová, Lucia; Jenčuráková, Eva
Elegia dla skrzyni
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Wratny, Jerzy
Esej, który nie powinien mieć końca
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Fąfara, Jerzy Janusz
Józef Szajna: artist, thinker, art theoretician. The concentration camp experience is one part of his life; the other is what happened to artist and man in camp conditions. His works are not only art, they are first of all a cry. Szajna’s cry is not merely theatre, it is a specific attitude to world literature from which he would draw his themes throughout his artistic life; it is visual arts in theatre and theatre in visual arts. In Józef Szajna’s plays visual arts played a major role, being a basis, a literary vector of director’s work. This paper is an attempt to present, at least to some extent, a look at the sources and secrets of Szajna’s avant-garde.
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.
Grabarz, mogiła, szkielet i geometria
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Huculak, Łukasz
Taking as a pretext The Church Interior, a painting kept at the Museum Orsettich House in Jarosław, the text discusses the links between 17th–century Dutch painting and 20th–century modernism. Considering a potential connection between the small painting (32.5 × 23.5 cm) dated to the 17th century, purchased in an antique shop in Przemyśl in 1979, and paintings by Hendrick Corneliszoon van Vliet, I point out the presence of three elements characteristic of this painter, not always present in the paintings of other perspective painters, for example in the most famous of them, Pieter Saenredam’s. In Vliet’s church interiors epitaphs, the clergy and the faithful are accompanied by gravediggers, earth mounds and sometimes also skeletons. The author also invokes other paintings by the landscapist and portraitist active in Delft between 1635 and 1672, known mainly for his scenes of burying the dead, shown in the interiors of Nieuwe Kerk or Oude Kerk in Delft, stored at Rijksmuseum, the Metropolitan Museum, the Paris Louvre or the National Museum in Warsaw. Indicating the mystical and hermeneutical ambitions of Malevich’s suprematism or Mondrian’s neoplasticism, as well as the pragmatism of modern society reflected in the ideas of Bauhaus and constructivism, the author discusses rationalism and iconoclasticism behind the aesthetics of the Protestant church.
Henry Moore w Centrum Rzeźby Polskiej w Orońsku
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Kamieński, Stanisław Zbigniew
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.
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.
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.
Języki w czterech czasach w Galerii r_z w Rzeszowie
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Kaczmarska, Małgorzata
Kalendarium 2018
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Błoński, Tadeusz; Grzegorczyk, Wiesław
Kobieta z wielkim okiem. O plakatach Patrycji Longawy
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Rabizo-Birek, Magdalena
Krzyczałem, a kiedy krzyczałem, pękały rzeczy cenne...
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Sawicka, Jadwiga
Lab Oro
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Woźniak, Katarzyna
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.

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