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1

Mysterious Eergies. The Rennaisance Gardens of Philosophers

100%
Kuczyńska A.
Dialogue and Universalism
|
2018
|
issue 1
41-59
EN
In the Renaissance the beauty of a garden was for people a source of energy, it nurtured their inherent love of plant life, enchanted them and gave them a sense of pure aesthetic contentment. This fascination with nature and the values nurtured by the emerging culture of the garden also had broader reasons than just the desire for subjective experience. They can be sought in the belief that the style of an epoch is reflected not only in all the forms of pure art, but also in the sphere of applied art. The aesthetic criteria which determined the early-Renaissance conception of the garden were at least twofold: first, the then-emerging culture of the garden co-formed the identity of the entire era as one of the few enclaves of a rising trend away from the classical tradition. The culture of the garden contested the adulation of the Antique that was common at the time and ruled supremely in art.
2

Sport and Art: Differences and Theatrical Similarities

75%
Kosiewicz J.
Physical Culture and Sport. Studies and Research
|
2014
|
vol. 63
|
issue 1
69-87
EN
A certain tradition of philosophical considerations on the interrelation between sport and art has already been established. According to Tim L. Elcombe (Elcombe, 2012, p. 201), such considerations on the subject first appeared in English-language literature in the 1970s and 1980s, and were fruitful. Usually, they appear together with questions on the aesthetic properties of sport - in this case, a special issue of the Journal of the Philosophy of Sport dedicated to ―Sport and Aesthetics‖ (2012, vol. 39, no. 2), and an excellent postdoctoral dissertation by Jakub Mosz entitled ―Estetyczne aspekty uczestnictwa w sporcie‖ (English: Aesthetic aspects of participation in sports) may serve as good examples. In his article (Elcombe, 2012), Tim L. Elcombe describes the contention and briefly characterizes the main differences between the two opposing viewpoints (Elcombe, 2012, pp. 202-204). It should be noted that he sympathizes with the view of David Best, who some years ago argued that sport is not art (1988, pp. 527-539). He believes that ―although art could use sport as a subject, art could not be the subject of sport‖ (Elcombe, 2012, p. 202). I would like to make that statement more specific by adding that its second part suggests that the display of artistic values cannot be the fundamental purpose of sport. I shall expand on that later. Best's viewpoint was criticized by Jan Boxil (1988), Spencer Wertz (1988), and Terry Roberts (1995), who believed that sport could be treated as art. Christopher Cordner (1995a; 1995b) and Joseph Kupfer (1988) also challenged Best, although they did not entirely disagree with him (see: Elcombe, 2012, pp. 202-204). Because literature on the subject published in English presents diversified statements on the interrelation between sport and art, and the circle of people engaged in the matters of physical culture in Poland is still in favor of equating sport with art, I have decided to present my own stance on that matter.
3
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Edward Trojanowski: The Search for Style in Early 20th-century Furniture Design in Poland

75%
Wójcik A.
Ikonotheka
|
2018
|
vol. 28
67-95
EN
Three sources of inspiration are discernible in early 20th-century Polish furniture design and especially in the output of artist-designers associated with the Polish Applied Art Association (TPSS), namely, folk art, the historical styles, and the modernistic/geometrical current. Edward Trojanowski’s oeuvre in that area combines all these three tendencies and embodies the evolution of a Polish approach to designing furniture; hence it may serve to illustrate the history of Polish furniture design in the early 20th century. Although initially Trojanowski turned to folk art, he did not passively copy its decorative motifs. His study of folk craft persuaded him to simplify the forms of pieces of furniture and to experiment with the use of colour in furniture design and interior decoration. Later, his search for a national style encouraged him to seek inspiration in Biedermeier furniture design, which added elegance to his designs, as evident in the proportions of the pieces of furniture and in the use of decorative veneers or sophisticated geometric ornaments. In this manner Trojanowski, while following his own artistic path, developed forms of furniture that effortlessly bear comparison with the avant-garde designs of the Modernist geometric current, as proposed by the Wiener Werkstätte and the Werkbund, which heralded the arrival of Art Déco.
4
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Luigi Veronesi – protagonista włoskiego abstrakcjonizmu

38%
Pyshynskaya D.
Roczniki Humanistyczne
|
2020
|
vol. 68
|
issue 4
125-154
EN
The article presents the figure of a Milanese artist Luigi Veronesi (1908–1998), one of the main representatives of Italian abstract painting. Since Veronesi’s work is not well known in Poland, this text covers the artist’s biography as well as describes and analyses individual stages of his work. The article covers various areas of the artist’s work: graphic arts, painting, photography, theatre, film animation, applied arts, typography and spatial design. Special emphasis is placed on presenting Veronesi’s relationship with the avant-garde tradition and his contacts with European artists. The article is based on a conversation with the artist’s son, Silvio Veronesi, as well as on a rich bibliographic material not yet published in Polish.
PL
Artykuł prezentuje postać mediolańskiego artysty Luigi Veronesiego (1908-1998), będącego jednym z głównych przedstawicieli włoskiego malarstwa abstrakcyjnego. Działalność Veronesiego nie jest dobrze znana w Polsce, dlatego niniejszy tekst obejmuje życiorys artysty, a także opisuje i analizuje poszczególne etapy jego twórczości. Uwzględnione są rozmaite obszary pracy artysty: grafika, malarstwo, fotografia, teatr, animacja filmowa, sztuka użytkowa, typografia, projektowanie przestrzenne. Szczególny nacisk jest położony na przedstawienie związku Veronesiego z tradycją awangardy oraz jego kontaktów z europejskimi artystami. Jako podstawa do napisania artykułu posłużyła rozmowa z synem artysta Silvio Veronesim, jak również bogaty materiał bibliograficzny dotychczas nieopublikowany w języku polskim.
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