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1

The Crisis of Impressionism or Claude Monet’s New Realism?

100%

Pieńkos A.

Ikonotheka

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2015

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vol. 25

189-200

EN

The question whether Monet’s Water Lilies are a separate phenomenon, a manifestation of “the crisis of Impressionism” or a simple and consistent continuation of his research has long been present in the history of modern art. In his book Postimpresjoniści [The Post- Impressionists] (1972), Wiesław Juszczak posed the problem in a radical manner and, by blurring the traditional opposition of naturalism and symbolism, offered one of the most interesting possible interpretations of Monet’s art. Juszczak perceived Monet’s experiment as a tentative search for an entirely new conception of form, not only in painting, as well as a search for the boundaries of the creative process. Referring to these considerations, the author of the current essay considers Water Lilies (conceived integrally as the paintings and the creation of the garden in Giverny) and proposes their perception as a construction of an “alternative world” (Emile Verhaeren). In the last years of his life, Monet enjoyed the sense of participating in nature’s “performance” that unfolded by itself at Giverny. The “Grand Decoration”, as he called the works in this series, was probably not intended to be the fi nal result of his many years’ work on the garden and on its painted image; it was rather a byproduct, so to speak, of this performance. The concept of a garden as a performance means the identifi cation or assimilation of nature and art. In the Giverny garden, Monet and nature exchanged their experiences. The dynamics of both processes of creation meant that the painter did not wholly control the creative process, but he encouraged it; Nature, in turn, participated in his display.

2

Oblicza przemian w Sztukach Pięknych

81%

Stanny K.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

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2016

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vol. 22: Warunkiem trwałości jest przemiana. Parafrazy, kontynuacje i aluzje literackie

247-258

EN

This paper aims to portray a remarkably diverse range of phenomena related to transformations in art: from the transformation of sculptor’s or painter’s matter into a work of art (on the example of works of Michelangelo and Leonardo da Vinci), through the spiritual metamorphosis of the artist whilst creating a piece, up to reciprocal flow of inspirations, feelings, emotions, and consciousness or its absence on the creation of the artefact that shapes the spiritual xperiences of the audience. While engaging with art, those phenomena can also occur with respect to faith by means of an artistic expression of a purely religious character (e.g. Vatican’s monumental and magnificent architecture). “The aging” of a piece of art or restoration activities that block this aging are examples of changes of the matter owing to the technology that changes the perception of the work over time; while, art devoted to glorifying – and inducing – social evolutions and revolutions is in the service of propaganda and politics (e.g. works created in ancient Egypt, the Third Reich, North Korea, the USSR). Artistic visions often depend on the influences of psychoactive substances on the consciousness of the artist and his perception of reality which results in its completely different reception (Witkacy’s portraits). Is such artistic vision created under the influence of substances objective? Where (if at all) in the modern world can we trace boundaries between art and non-art? This text aims to address and answer these questions and doubts.

3

Ogród - miejsce spełnienia i schronienia artystów

72%

Hubeny-Żukowska A.

inAW Journal – Multidisciplinary Academic magazine

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2021

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vol. 2

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issue 1

6-18

PL

Są na świecie miejsca, które swym pięknem i atmosferą potrafią przenieść widza/uczestnika w inny wymiar. Są ludzie niezwykli, którzy potrafią stworzyć takie przestrzenie wokół swoich domów. Magia ogrodu uczynionego z pasji, miłości, pragnienia zobrazowania filozofii, z chęci zapomnienia lub ucieczki przed rzeczywistością sprawia, że stają się one kapsułami wyodrębnionymi z czasu i przestrzeni. Co łączy Claude’a Moneta, Fridę Kahlo, epidemię cholery i grypy oraz COVID-19? Jak myśl projektowa i przestrzeń ogrodu, miejsca ekspresji, zmieniają się pod wpływem różnych zdarzeń i emocji? Czy w rzeczywistości postpandemicznej ogród może stać się piątym pokojem, nawiązującym do wcześniejszych salonów i gabinetów ogrodowych – współczesnym, bezpiecznym miejscem pracy, samorealizacji, wypoczynku oraz bytowania z przyrodą i pięknem?

Refine search results

1 Ikonotheka

1 Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

1 inAW Journal – Multidisciplinary Academic magazine

1 Hubeny-Żukowska A.

1 Pieńkos A.

1 Stanny K.

1 2021

1 2016

1 2015

The Crisis of Impressionism or Claude Monet’s New Realism?

Oblicza przemian w Sztukach Pięknych

Ogród - miejsce spełnienia i schronienia artystów