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Patrząc na obraz Adama Chmielowskiego Zawale

100%
Taranczewski P.
Estetyka i Krytyka
|
2011
|
issue 1(20)
179-187
EN
Using concepts drawn from the aesthetics of Ingarden, this article sets out to analyse the qualities and metaphysical values discernible in the structure of the well-known painting The Zawale, by Adam Chmielowski. The author considers what the work of art amounts to in qualitative terms, where this is taken to determine its coherence and completeness as a gestalt figure, as well as its artistic value.
2
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Painterly Quest for Values

100%
Taranczewski P.
Estetyka i Krytyka
|
2014
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issue 3(34)
121-131
EN
The painter is trying to realize a certain value in the canvas, the value which he feels, he is looking for and he can see in his imagination. Nevertheless, that value is not given to him, it is undefined and unclear. For this reason, painting a picture is both creating and looking for a fully perceptible value. The emerging image shows the painter the form of that value, it is controlled by the artist, but the artist is also controlled by the image which, in a way, leads him. The demanded and achieved value is not a label which appraises the image, stuck on it by the painter, but it is like a light that per- meates and illuminates the painting.
3

Wartości - lista nazw

100%
Taranczewski P.
Kwartalnik Filozoficzny
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2021
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vol. 49
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issue 1-4
43-65
EN
The concepts of value, valuing, and judging are often found to be problematic. Heidegger believes that assigning value reifies and subjectivizes that which exists. But perhaps we should differentiate between the concepts of valuing, i.e., assigning value, and judging. To note and acknowledge a value, e.g., an aesthetic value in which the artwork participates and which is given in the experience of the work of art, is not the same as to impose that value in advance, or take a relativizing or reductive approach. The article is supplemented by tables of values taken from Roman Ingarden’s aesthetics and art theory, as well as from the experience of artists – painters and architects.
4

Relacja i kolor

100%
Taranczewski P.
Kwartalnik Filozoficzny
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2012
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vol. 40
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issue 2
5 - 23
EN
An "arrangement" usually means incidentally placing one thing next to another, for example, putting a chair against the wall. The chair put next to the wall is in a loose union with it. When putting a chair next to something we are not concerned with the relationships that can arise from the act of putting it there. The situation is different when we furnish an apartment. Then we are interested in the value of placing the chair next to the wall. In the artistic world the term "arrangement" refers to an artistically meaningful relationship between two colors in a painting. But artists do not feel the need to understand the term more precisely, for it belongs to the jargon of painting. The apparent ambiguity of the word is puzzling, so I try to understand what the arrangement of colors in a painting consists of, to unravel the technical sense of the word, relying especially on Roman Ingarden’s ontology.
5

Uwagi poszarpane na temat malowanej i pisanej estetyki Józefa Czapskiego - artysty malarza

100%
Taranczewski P.
Kwartalnik Filozoficzny
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2022
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vol. 50
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issue 1-4
353-381
EN
The article is an attempt to read out of Czapski’s notes an outline of his understanding of painting as an art form, the foundations of his aesthetics, and his ideas concerting a painter’s attitude and duties. In his creative work, as well as in the reflections that accompanied it, Czapski paid attention not only to the artist’s technical abilities (composition, interplay of colors, etc), but also saw the important role of emotions, of the artistic experience, which he called ‘shock’. He advised deepening such emotions through concentration, through focused observation of what is given in this experience. This connects with the artist's moral stance, where selflessness, being uncompromising, and artistic honesty are the virtues, and pride and yearning for success are the anti-virtues. In the end, art, according to Czapski, allows us to express human existence, and can even open us up to another, other-worldly dimension: eternity.
6
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Wyznanie win i wiary malarza

100%
Taranczewski P.
Rocznik Wydziału Pedagogicznego Akademii Ignatianum
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2013
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vol. 16
125-136
PL
Tekst opowiada o powodach odejścia autora od malarstwa po studiach w krakowskiej ASP, a także o tym, dlaczego autor do malarstwa powrócił. Pokazuje – owszem – itinerarium duchowe autora, jednak przede wszystkim to, jak panujący duch czasu czy krążące w nim trucizny mogą paradoksalnie powodować wiarę w sens tego, co się w życiu robi, i mówi o konieczności nieulegania jednostronnym naciskom epoki. Tekst był pierwotnie opublikowany w roku 1996 w miesięczniku „Znak” nr 494, s. 123, pt. Wyznanie win i wiary malarza.
EN
The text talks about the reasons for author’s leaving the painting after the studies at the Cracow Academy of Fine Arts and also about why the author has returned to painting. Certainly it shows the spiritual journey of the author, but above all it demonstrates how the prevailing spirit of the times and the poisons circulating within this spirit can undermine faith in the sense of what one does in life and talks about the need to resist the unilateral pressures of the age. The text was originally published in 1996 in the monthly Znak no. 494, p. 123, as: Confession of sins and faith of the painter (orig. Wyznanie win i wiary malarza).
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Wacława Taranczewskiego dzieła sztuki. Audycja radiowa nagrana z okazji 20 rocznicy śmierci Wacława Taranczewskiego

45%
Taranczewski P., Stróżewski W., Wsiołkowski A., Nowicka J., Kraupe-Świderska J.
Estetyka i Krytyka
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2008
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issue 13-14
177-194
PL
Audycja nagrana z okazji 20 rocznicy śmierci Wacława Taranczewskiego, wyemitowana została przez Radio Kraków 6 lutego 2007 roku w ramach cyklu Dzieła sztuki. Audycję prowadziła Justyna Nowicka, a udział w niej wzięli: prof. prof. Janina Kraupe-Świderska, Władysław Stróżewski, Adam Wsiołkowski i Paweł Taranczewski.
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