Search results

1

Kresba a malba v antropologii

100%

Soukup M.

Národopisná revue (Journal of Ethnology)

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2014

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vol. 24

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issue 1

3 - 14

EN

The subject of the study is to analyze the use of native drawings as a gnoseological tool in cultural anthropology taking into account the developmental transformations in visual anthropology. This was established as an independent anthropologic sub-discipline aimed at the study of culture especially by means of film and photograph. Native drawing is still rather undervalued in visual anthropology even though it disposes of considerable potential for the research of culture by visual means. This is documented by results of the research conducted by Mead, Bateson, Fortes, Alland and many others whom the contribution pays a special attention. In his study, the author will proceed not only from the analysis of implemented researches focused on native drawings, but he also will build on his own empiric experience with using the native drawings in the research of the Nungon ethnic group of Papua New Guinea. The aim of the study is to introduce the status of using the native drawings in anthropologic research, possibilities of using, analyzing, and interpreting the collected data and wider connections with visual anthropology.

2

What has sight got to do with it? On the representation of concepts in blind children’s drawings

100%

Jaworska-Biskup K.

Glottodidactica

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2012

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vol. 39

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issue 2

75-85

EN

The paper analyses sample drawings produced by blind children. The focus will be put on the representation of concepts. Major findings gathered in the discussion section show that sight plays complementary rather than primary role in the process of conceptual development, which supports other research in the field of blindness studies conducted so far.

3

From the Kraków collection: two pencil sketches by Norwid

100%

Chlebowska E.

Studia Norwidiana

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2020

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vol. 38 English Version

133-144

EN

The article presents two drawings: Odpoczynek podczas ucieczki do Egiptu and Starzec z laską i dwie siedzące postaci, which shall be included in the register of Cyprian Norwid’s artistic heritage, discussing their origin and themes, and attempting to place the sketches in the context of Norwid’s early work contained in his sketchbooks and Album berliński.

4

Z korespondence F. V. Mokrého s účastníky VI. Mezinárodního kongresu pro kreslení a užitá umění v Praze - Galkou E. Scheyerovou, Josefem Albersem a Lucií Moholy-Nagyovou

88%

Kavčáková A.

Umění (Art)

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2018

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vol. 66

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issue 5

400-421

EN

The edition of part of the correspondence of painter and art professor F. V. Mokrý from the years 1928–1930 documents the efforts of this important representative of the movement for the modernisation of art education methods to develop contacts with the international art and art-education avantgarde, especially with personalities related to Bauhaus. The opportunity for a personal meeting with the people named above and for an attempt to increase respect for the modernist efforts of Czechoslovak art teachers in the international context was the 6th International Congress for Art Education, Drawing and Art Applied to Industry, held in Prague in 1928, of which Mokrý was the general secretary. Together with the interpretation of the content of the letters, the text therefore also focuses on the evaluation of the organisational and ideological sides of the Prague Congress, conceived with the support of government circles on the occasion of the celebration of the first ten years of the building of Czechoslovakia as an event documenting the progressive thinking of a world- oriented democratic country. In his commitment Mokrý appears as a typical representative of the generation of artists born at the close of the 19th century, opponents of national traditionalism who, in the period between the wars, were reaching a fundamental knowledge of creative solidarity with Bauhaus and primarily were striving from these positions to awaken the public interest in a modern lifestyle. When the popularity of functionalism reached a higher level in Czechoslovakia in the thirties of the 20th century than in the land of Bauhaus, this was certainly due to the activities of a number of almost unknown artists - progressive-minded professors of drawing, art teachers at junior secondary and secondary modern schools, who contributed to the high-quality education of Czechoslovak citizens through the cultivation of their sensibility to constructivism and functionalist objectivity.

CS

Edice části korespondence malíře a výtvarného pedagoga F. V. Mokrého z let 1928–1930 dokládá úsilí významného stoupence hnutí za modernizaci metod výtvarné výchovy o rozvíjení kontaktů s mezinárodní uměleckou a výtvarně- pedagogickou avantgardou, zejména s osobnostmi ve vztahu k Bauhausu. Příležitostí k osobnímu setkání se jmenovanými adresáty i k pokusu o zvýšení respektu k modernistickým snahám československých výtvarných pedagogů v mezinárodním kontextu se stal VI. mezinárodní kongres pro kreslení a užitá umění pořádaný roku 1928 v Praze, jehož byl Mokrý generálním sekretářem. Spolu s interpretací obsahu dopisů je proto text zaměřen i na zhodnocení organizační a ideové stránky pražského kongresu pojatého s podporou vládních kruhů při příležitosti oslav desetiletí budování Československa jako počin dokládající pokrokové myšlení světově orientované demokratické země. V své angažovanosti se Mokrý jeví jako typický reprezentant generace umělců narozených závěrem 19. století, kteří se stali odpůrci nacionálního tradicionalismu a kteří dospěli v meziválečné době k zásadnímu poznatku tvůrčí sounáležitosti s Bauhausem a předně z těchto pozic usilovali o podnícení zájmu veřejnosti o moderní životní styl. Když ve třicátých letech 20. století dosáhla v Československu popularita funkcionalismu vyššího stupně než v zemi Bauhausu, zásluhu jistě nesly aktivity řad téměř neznámých umělců - pokrokově smýšlejících profesorů kreslení, učitelů výtvarné výchovy na reálných a měšťanských školách, kteří ke kvalitnímu vzdělání československých občanů přispěli kultivací jejich sensibility ke konstruktivismu a funkcionalistické věcnosti.

5

ЗМІСТ І СТРУКТУРА НАВЧАЛЬНОЇ ЛІТЕРАТУРИ З МАЛЮВАННЯ: ІСТОРИКО-ПЕДАГОГІЧНИЙ АСПЕКТ

88%

Литовченко Г.

Педагогічні науки: теорія, історія, інноваційні технології

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2016

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issue 5(59)

354-361

EN

The article is devoted to historical and pedagogical analysis of school textbooks on drawing presented by the native educational thought in the 20-30 years of the twentieth century. The present article focuses on the analysis of correspondence of content and structure of textbooks on drawing to school programs during 20-30 years period. As an attempt to explore the issue the following research methods were used. Method of pedagogical analysis made it possible to identify and analyze the role of school textbooks on drawing at schools of the specific period. Narrative method helped to provide a description of facts and main concerns of school textbooks in general. Comparative method allowed us to compare the basic requirements for school textbooks and content and structure of the school program on drawing. The method of analysis and synthesis has been used by us to identify causal relationships between requirements to educational content and requirements for school textbooks. Based on the analysis of the scientific literature the author reveals the views of social activists, teachers and practitioners regarding requirements for school literature on drawing of the studied period. Correspondence of content of manuals and guides on drawing to general curriculum requirements for unified labor school has been analyzed. The article claims that in the 20–30-s of the XX century under the school education reform drawing as a subject was a part of a common core from 1st to 9th forms. However, school literature on drawing recommended was focused primarily on teachers and not always served as a basis for successful individual mastering of the subject by the pupils due to several reasons. Firstly, it was based on the traditions of European school practice. Secondly, it was not always coordinated with the objectives of a unified labor school. Since 30s the native educational thought started to intensify its activity towards the creation of school textbooks on drawing in the context of general requirements for school books and unified labor school tasks. The prospects of further analysis is said to be stated. The following objective to analyze historical and pedagogical aspects of the content of schoolbooks on drawing of the second half of the XX century is to be attained.

6

Jututamise meetodist laste randelugude uurimisel

75%

Siim P. M.

Mäetagused

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2019

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vol. 74

77-98

EN

The article focuses on the storycrafting method and the experiences gained while using it with Estonian children living in the Helsinki metropolitan area, Finland. In 2018, 66 children aged from 3 to 14 years took part in storycrafting and drawing sessions we organized in kindergartens and schools together with ethnologist Keiu Telve. On the one hand, the aim of the article is to estimate the usefulness of the storycrafting method in studying children’s experiences of migration, and on the other hand, to give an overview of the recurrent motives, stylistic devices, and ways of expression children used in the stories created during these sessions. When applying the storycrafting method, the child is asked to tell a story, the researcher writes it down, word by word, and reads it aloud to the child, after which the child may correct the story until he or she is content with the outcome. We have modified the method to a certain extent, i.e., we have worked with small groups, mostly 2–4 children, and given children a certain broad theme for the story, so that the stories told are to some extent related to mobility or transnational way of life. Although the stories are rich in fantasy and created in collaboration with researchers, they essentially draw on the children’s own experiences and observations. The stories combine personal experiences and fantasy in a fascinating way, revealing the kind of situations children consider imaginable. Fictional storytelling may provide an easier way for the children to tell about their personal experiences, wishes, fears, and other emotions. Working in group makes it also possible for children to negotiate their experiences with each other. During the fieldwork, children received us extremely well both in kindergartens and at schools. Schoolchildren were especially active and keen to participate in the storycrafting and drawing sessions. Presumably the sessions were somewhat similar to children’s spontaneous, everyday storytelling situations. Children felt themselves more relaxed than they usually do in interview situations, when the researcher is asking questions and they feel stronger pressure to answer and to do it ‘correctly’. Children were also motivated to participate, since they were aware of our plan to publish a children’s book. This book contains 27 stories written down during storycrafting sessions, short citations from our field diaries, and drawings made by children. The book is directed to a wider audience, for example, to families with children considering relocation.

7

EFFECTS OF INNOVATIVE APPROACHES IN CLASSES ON STUDENTS' SUCCESS

75%

UZ N., CIMENCI H.

Journal of Education Culture and Society

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2018

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vol. 9

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issue 2

203-217

EN

ABSTRACT Concept: Drawing is the foundation of plastic arts. The drawing class is one of the art education fields where students focus on observation, questioning, research and developing imagination. It can be seen that artists too are presenting different premises after drawing, which is generally considered as a preliminary to a work of art, being acknowledged as art by itself. Aim: The point of origin of this research is the inability of the students of sculpture departments to fully comprehend the importance of drawing with regard to the creating of a sculpture. The principal purpose is the explaining of the applied studies that are specifically designed to develop individual perspectives, drawing skills, personal lines and creativity of the students and the alternative methods of drawing which yield positive result. Methods: Instead of repeating the knowledge that students obtained via traditional methods, studies are approached where they can reinterpret and develop their knowledge in respect of the time, technique, perception etc. Drawings that are presented in line with the main purpose via innovative approaches are evaluated with a qualitative research. Conclusions: After briefly mentioning education and art education in this study, methods applied with an innovative approach in sculpture design courses are explained through selected examples. At the end of the studies, it was seen that the students were more active, eager to learn, courageous, questioning and every time they are applied, methods are resulted positively.

8

Reality as It Is Expressed Through the Drawings of a Blind Child

75%

Niestorowicz E.

Logopedia

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2018

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vol. 47 EN

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issue 2

355-369

EN

The following article focuses on the problem as to how the knowledge of reality is reflected in the drawings created by a child completely blind since birth. To analyse a drawing made by a blind person, I try to reach this fragment of knowledge in the mind of the author that generates the phenomenon created in the drawing. Therefore, I try to determine the scope of knowledge about the phenomenon by having a conversation with the child about his experiences, such as: – sensory experiences acquired through tactile perception, as well as other senses, – knowledge about the phenomenon contained in the mind (cognitive model). The subject of the analysis will concern convex drawings on the micro-grooved foil. The analysis tool will comprise of the model showing the content and form of the drawing, the creativity and the emotionality of the illustrator. These analyses will be compared and verified in accordance with the stages of the drawing skills of sighted children. I determine these stages using the studies of Szuman (1990), Lowenfeld and Brittain (1977) and Luquet (2001/1927). This tool takes into account current knowledge about art, stages of child’s plastic development and the abilities of blind people.

9

Szkic o rysowaniu etnograficznym. Próba definicji

75%

Wajszczak J.

Barbarzyńca. Pismo Antropologiczne

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2018

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issue 23

64-83

EN

In this article, I redefine etnographic drawing in the context of contemporary practice and idea. The starting point for the analysis consists of fieldwork, film and photography, which function as ethnographic tools, and the latest drawing theories. A wider context is created by the etnographer’s personal experience, his subjectivism and creative exploration, which bring science and art closer together.

10

МЕТОДИЧНІ АСПЕКТИ ФОРМУВАННЯ ПРОФЕСІЙНИХ НАВИЧОК ПЕДАГОГА-ХУДОЖНИКА ЗАСОБАМИ РИСУНКА

63%

Шпитальова О.

Педагогічні науки: теорія, історія, інноваційні технології

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2015

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issue 3(47)

416-424

EN

The article deals with the content and objectives of the course «Drawing», the meaning of the picture as a tool for the professional skills of future teachers of art. Teaching figure provides future teachers with the necessary knowledge of theoretical ratification of Fine Art. It teaches the students to create a graphic representation of the true life; to develop actively observation, imagination, coordination and hand and eye, to form a special vision of the world and refinement of perception. The art of drawing as an ancient cultural phenomenon with a rich history that attracts people to the highest spiritual traditions are constantly developing and consolidating skills needed to transfer them to a new generation. Therefore, the methods of teaching drawing continuously have developed and improved by changing its character, content, principles and organizational forms. Figure is regarded as a means of uniting in a single art and artistic, educational and cognitive process that enables the development of not only creativity but brings the skills of the artist-teacher. The article has relevance and the need to improve the teaching methods in drawing process of training the students. Work on the figure provides and reinforces the skills that are required in the educational process and successful future professional work of teachers of art. Innovative teaching methods of picture promote professional skills, spatial thinking of the students forming an individual author’s style and creative graphic skills. The analysis of scientific and pedagogical research, the study of the theory and practice of vocational education students of pedagogical universities demonstrates the relevance and need for improvement of the teaching methods of drawing as a means of professional skills of the future teachers of artistic disciplines. The study can identify the need for further scientific research related to coordination and interaction training programs and drawing methods of teaching, developing best practices training and incentives learning of the students in the study of special subjects, identify the ways of further improving the quality and increasing the level of training of art profile.

11

Nawyki żywieniowe w swobodnych rysunkach dzieci w wieku przedszkolnym i wczesnoszkolnym

63%

Uberman M.

Lubelski Rocznik Pedagogiczny

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2013

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vol. 32

EN

Obesity is a problem which also affects children. It probably results from parents’ dietary conformism. Children’s plumpness is one of the disasters of contemporary civilization. It is most frequently a result of excessive consumption of fast foods, sweets and sweetened drinks. Obese children show lover immunity to diseases, they are less physically active and more susceptible to civilization diseases, such as diabetes, hypertension or atherosclerosis. It is therefore essential to start shaping appropriate dietary habits as early as at pre‑school age.

PL

Otyłość dziecięca jest poważnym problemem zdrowotnym współczesnej cywilizacji. Sprzyjają jej konformizm żywieniowy rodziców, złe przyzwyczajenia, często nadmierne spożycie słodyczy, żywności typu fast food oraz słonych przekąsek, jak chipsy, snacki, itp. Żywienie dzieci wymaga szczególnej troski. Nie polega ono tylko i wyłącznie na zaspokajaniu głodu albo dostarczaniu niezbędnych składników pokarmowych. Wspólne spożywanie posiłków w domu (a nie w barach oferujących potrawy typu fast food) kształtuje określone wzorce żywieniowe, wzmacnia więzi rodzinne oraz służy pielęgnowaniu tradycji.

12

Kresba pána a psa u dětí se sluchovým postižením

63%

Potměšilová P., Potměšil M.

Československá psychologie (Czechoslovak Psychology)

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2021

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vol. 65

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issue 2

112-124

EN

Objectives. The aim of the study was to highlight the specific features in the “gentleman and dog” drawings of children with hearing impairment who experience problems with verbalization. Sample and setting. The primary sample was 53 preschool children with hearing impairment. The design of the research was mixed. The drawings were qualitatively analysed with an enumeration of character frequency. The hypotheses were verified by a two-factor analysis and a two-sample T-test. Hypotheses. H1 There is no relation between the level of intelligence and the drawing. H2 There is no relation between the drawing and the sex of the child. H3 There is no relation between the drawing and the age of the child. H3 There is no relation between the drawing and the hearing impairment of the parents. Statistical analysis. There was a correlation between the results in the IQ test and the raw scores of the gentleman drawing at the level of 0.05 and the IQ test results and the raw scores of the dog drawing at level 0.01. The relationship between the sex, age, and level of the gentleman drawing has not been established. In the case of dog drawing, a statistically significant effect on the significance level of 0.05 only for sex (F (1, 48) = 6.15, p = 0.02) was demonstrated. In the event of the influence of the hearing impairment of parents on the child drawing, a statistically significant relationship was not supported. Results. Drawings of “gentleman and dog” of children with hearing impairment show signs of a lower developmental level by one to two years compared to hearing peers. Limits of the study. From the point of view of statistical processing requirements, the number of respondents may be considered to be limiting, but this is 80% of the selected population.

CS

Cíl. Cílem studie bylo poukázat na specifické znaky v kresbách „pán a pes“ u dětí se sluchovým postižením, u kterých se vyskytují problémy s verbalizací. Vzorek a uspořádání. Základním vzorkem bylo 53 dětí předškolního věku se sluchovým postižením. Design výzkumu byl smíšený. Kresby byly kvalitativně analyzovány s výčtem četnosti znaků. Hypotézy. H1 Mezi úrovní inteligence a kres- bou pána a psa neexistuje souvislost. H2 Mezi kresbou pána a psa a pohlavím dítěte neexistuje souvislost. H3 Mezi kresbou pána a psa a věkem dítěte neexistuje souvislost. H3 Mezi kresbou pána a psa a sluchovou vadou rodičů neexistuje souvislost. Statistická analýza a výsledky. Hypotézy byly ověřeny dvoufaktorovou analýzou rozptylu a dvouvýběrovým t-testem. Byly zjištěny korelace mezi výsledky v IQ testu a hrubými skóry kresby pána na hladině 0,05 a výsledky IQ testu a hrubými skóry kresby psa na hladině 0,01. Vztah mezi pohlavím, věkem a úrovní kresby pána se neprokázal. V případě kresby psa se projevila statisticky významná souvislost na hladině významnosti 0,05 pouze u pohlaví (F (1, 48) = 6,15, p = 0,02). V případě vlivu sluchové vady matky nebo otce na dětskou kresbu pána a na kresbu psa se neprokázal statisticky významný vztah. Závěr. Kresby „pán a pes“ dětí se sluchovým postižením vykazují ve srovnání s kresbami slyšících dětí znaky na nižší vývojové úrovni o jeden až dva roky. Limity studie. Z hlediska požadavků na statistické zpracování může být za limitující považován počet respondentů, jedná se však o 80 % vybrané populace.

13

Rysunek dziecka w diagnozie psychopedagogicznej

63%

Duksa P.

Studia Elbląskie

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2011

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vol. 12

425-435

EN

Presence of a drawing in human’s life can be observed as far back as in the prehistoric times. Drawing was the primary form of writing thoughts and recording reality. Also today a drawing is a universally available form of expression – simple and helpful in assessing development of child’s personality and in psychological or occupational therapy. Each shape, color and detail plays an important role because they serve as an expression of internal world of feelings, experiences, desires, dreams as well as anxiety and fear which because of some reasons child can have. That is why while analyzing the artistic work of children we are able to see its problems, worries, joys and concerns. The greatest deal of knowledge about child is delivered by the test of drawing of itself thanks to which we get insight into how a child perceives itself. On the other hand, the test of drawing of a family delivers information about relations within the family, the presence of parents and their attitude to a child. With skills of interpretation of artistic works of a child we can see more and we can assess the level of development of a child. We are also able to identify irregularities which could not be observed otherwise. Child’s artistic works also provide information how to stimulate the child’s activity or what should be changed in the educational work.

14

Zajęcia przedszkolne z wykorzystaniem eksperymentu i dostępność poznawcza zagadnień naukowych

63%

Gop A., Skrzypowska J.

Przegląd Pedagogiczny

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2023

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issue 2

185-204

EN

The article addresses the issue of preschool children’s experimentation, both behaviorally (i.e., experimentation-related behavior) and cognitively (i.e., understanding of physical-biological-chemical issues) during dedicated experimental classes in kindergarten. The article uses a series of data (recordings, narratives and drawings) collected from one group of preschool children (6 years old) during four classes using specially designed experiments. The collected data provided a holistic picture of the experimental educational practices. The results indicate that a well-designed structure of lessons using experiments and adequate support (scaffolding) from the teacher enable children to understand and remember many scientific topics.

PL

Artykuł porusza zagadnienie eksperymentowania dzieci w wieku przedszkolnym, zarówno w wymiarze behawioralnym (tj. zachowań związanych z eksperymentowaniem), jak i poznawczym (tj. rozumieniem zagadnień fizyczno-biologiczno-chemicznych) podczas dedykowanych zajęć eksperymentalnych w przedszkolu. Artykuł wykorzystuje serię danych (nagrań, narracji i rysunków) zebranych od jednej grupy dzieci w wieku przedszkolnym (6 lat) podczas czterech zajęć z wykorzystaniem specjalnie zaprojektowanych eksperymentów. Zebrane dane pozwoliły uzyskać holistyczny obraz eksperymentalnych praktyk edukacyjnych. Wyniki wskazują, że dobrze zaprojektowana struktura zajęć z wykorzystaniem doświadczeń oraz adekwatne wsparcie (scaffolding) nauczycielki umożliwiają dzieciom zrozumienie i zapamiętanie wielu zagadnień naukowych.

15

Sztuka patrzenia i rysowania

63%

Juchniewicz B.

Architectus

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2018

|

issue 2(54)

3-14

PL

W artykule opisano związki między umiejętnością aktywnej percepcji przestrzeni a rysunkiem odręcznym, ze szczególnym uwzględnieniem ich roli w rozwijaniu umiejętności twórczych architektów. Wyróżniono cztery kategorie widzenia i odpowiadające im sposoby plastycznego zapisu. Wszystkie one zostały omówione na podstawie przykładów rysunków W. Weissa, Z. Herberta, współczesnych architektów (m.in. T. Głowackiego) oraz prac studenckich. Zwrócono uwagę na pewne odrębności i jednocześnie uzupełnianie się tych kategorii w ostatecznym kształtowaniu aktywnej, twórczej postawy percepcji przestrzeni, nazwanej aktywnie otwartym okiem.

EN

This article describes the relationship between active perception of space and handdrawing, with particular emphasis on their role in developing creative skills of architects. There are four categories of vision and their respective modes of artistic record. All of them are described on the basis of examples of W. Weiss, Z. Herbert, contemporary architects (including T. Głowacki) and student work. Attention was drawn to certain distinctness and at the same time complementing these attitudes in the final shaping of the active, creative attitude of perception of space, called Active Eye.

16

Obrazy idei architektonicznej w twórczości JEMS Architekci na przykładzie wystawy z okazji 30-lecia działalności pracowni na tle twórczości wybranych przedstawicieli Bauhausu

63%

Trzupek T.

Architectus

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2020

|

issue 4(64)

75-88

PL

Tematem artykułu jest analiza porównawcza funkcji twórczości malarskiej o tematyce architektonicznej przedstawicieli Bauhausu (ze szczególnym skupieniem na sylwetkach Farkasa Molnára, Aleksandra Schawinskiego i Ludwika Miesa van der Rohe) z rolą obrazów prezentowanych na wystawie z okazji 30-lecia pracowni JEMS Architekci. Celem artykułu jest wskazanie na ciągłość i potrzebę stosowania obrazów jako nośnika idei architektonicznej oraz podkreślenie aktualności twórczości przedstawicieli awangardy XX w. Współczesna rola obrazu w architekturze wykracza poza ogólny sposób stosowania obrazu w Bauhausie. Obraz architektury był zorientowany głównie na mającą powstać architekturę, a w przypadku omawianej wystawy może on stanowić próbę autorefleksji i oceny kierunku własnych dążeń.

EN

The subject of this article is a comparative analysis of functions of the painting works of Bauhaus representatives with the themes of architecture (with particular focus on the profiles of Farkas Molnár, Aleksander Schawinski and Ludwik Mies van der Rohe) with the role of the paintings presented at the exhibition on the occasion of the 30th anniversary of the JEMS Architekci studio. The purpose of this article is to show the continuity and the need to use images as a carrier of an architectural idea and to emphasize the topicality of the works of representatives of the 20th century avant-garde. The contemporary role of image in architecture goes beyond the general way of using images in the Bauhaus. The image of architecture was mainly oriented towards the architecture to be created and in the case of the above-mentioned exhibition, it may be an attempt at self-reflection and assessment of the direction of one’s own aspirations.

17

Z Norwidowskiego archiwum Zenona Przesmyckiego (3). Opisy Norwida ze zbiorów Wiktora Gomulickiego

63%

Chlebowska E.

Studia Norwidiana

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2012

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vol. 30

173-199

EN

The article brings an edition of two Zenon Przesmycki’s documents (a typescript and a manuscript) that are kept in the collection of the National Library. They contain descriptions of Norwid’s artistic works that once belonged to Wiktor Gomulicki. Their greater part is now considered to be lost. The first of these documents gives a list of 20 artistic works by Norwid rawings, engravings, and one photography of a drawing) that about 1904 belonged to Gomulicki, and the other one – descriptions of 40 Norwid’s drawings bought by Wanda and Aleksander Naumann from Wiktor Gomulicki in 1916. The documents allow reconstructing the Norwidian collection the author of Wspomnienia niebieskiego mundurka had gathered, and which then became dispersed, and one part of which, preserved till today, is constituted by works bought by the famous collector, Dominik Witke-Jeżewski; now in the collection of the National Museum in Warsaw. The editorial study of Przesmycki’s texts is preceded by introductory remarks, in which a characteristic of Wiktor Gomulicki’s collection, the circumstances of gathering it, and then of its dispersion are given.

18

Z Norwidowskiego Archiwum Zenona Przesmyckiego (3). Opisy rysunków Norwida ze zbiorów Wiktora Gomulickiego

63%

Chlebowska E.

Studia Norwidiana

|

2012

|

vol. 30

173-199

EN

The article brings an edition of two Zenon Przesmycki's documents (a typescript and a manuscript) that are kept in the collection of the National Library. They contain descriptions of Norwid's artistic works that once belonged to Wiktor Gomulicki. Their greater part is now considered to be lost. The first of these documents gives a list of 20 artistic works by Norwid (drawings, engravings, and one photography of a drawing) that about 1904 belonged to Gomulicki, and the other one – descriptions of 40 Norwid's drawings bought by Wanda and Aleksander Naumann from Wiktor Gomulicki in 1916. The documents allow reconstructing the Norwidian collection the author of Wspomnienia niebieskiego mundurka had gathered, and which then became dispersed, and one part of which, preserved till today, is constituted by works bought by the famous collector, Dominik Witke-Jeżewski; now in the collection of the National Museum in Warsaw. The editorial study of Przesmycki's texts is preceded by introductory remarks, in which a characteristic of Wiktor Gomulicki's collection, the circumstances of gathering it, and then of its dispersion are given.

19

Rysunki osób niewidomych od urodzenia i ociemniałych. Studium porównawcze

63%

Niestorowicz E.

|

2019

|

vol. 11(47)

|

issue 3

111-126

PL

Badania zaprezentowane w niniejszym artykule dotyczą wizerunków zjawisk rzeczywistości w rysunkach osób całkowicie niewidomych (od urodzenia) i osób ociemniałych. Przedmiotem analizy jest sprawność rysunkowa i jej rozwój. Badania dotyczyły wypukłych rysunków na folii dla niewidomych. Poddałam je analizie jakościowej, a narzędziem analizy stał się model wytworu plastycznego, który uwzględnia jego treść, formę oraz kreatywność. Wszystkie komponenty tworzenia zostały przeanalizowane w odniesieniu do etapów rozwoju rysunkowego według klasyfikacji rozwoju plastycznego dziecka w normie zaproponowanych przez S. Szumana, V. Lowenfelda, W. Brittaina, oraz G.H. Luqueta. Cel badań zawiera się w pytaniu, czy odmienne doświadczenia sensoryczne niewidomych od urodzenia i osób ociemniałych ujawnią różnice w obrazowaniu obiektów rzeczywistości?

EN

The results of the research presented in the article concern the visions of reality and its various phenomena in drawings of completely blind people (congenitally) and late blind people. The focus of my analysis was drawing skills and their development. The research concerned convex drawings on foil for blind people. I conducted a qualitative analysis of the drawings. The main tool for my analysis was the model of the structure of an artistic piece taking into account the work’s content, form and creativity. All components of the creative process were analysed with reference to the subsequent stages of drawing development in accordance with the classification of the child’s artistic development within intellectual norm, as indicated by S. Szuman, V. Lowenfeld, W. Brittain and G.H. Luquet.

20

Graficzny zapis graniastosłupa obserwowanego przez dzieci w wieku 6–9 lat

63%

PIWOWARSKA E.

|

2017

|

vol. 8

|

issue 4

141-146

PL

Postrzeganie wzrokowe umożliwia człowiekowi podejmowanie codziennych działań, w tym aktywności polegających na odtwarzaniu za pomocą języka plastyki obserwowanych przedmiotów. Celem prowadzonych badań odnoszących się do umiejętności graficznego zapisu graniastosłupa foremnego trójkątnego stało się ustalenie przebiegu rozwoju rysunkowych obrazowań tejże bryły znajdującej się w polu widzenia obserwatora. Obrana metoda analizy dokumentów, jakimi stały się rysunki dzieci w wieku 6–9 lat, pozwoliła wskazać charakterystyczne cechy tworzonych graficznych zapisów. Problemem zasadniczym stało się pytanie o przebieg zachodzących w poszczególnych grupach wiekowych badanych dzieci zmian w rysunkowych obrazach obserwowanego graniastosłupa. Istotne było ustalenie rysunkowych jego modeli oraz przebiegu zmian odnoszących się do stosowanej kolorystyki i występujących perspektyw (ujęcia płaskie, przestrzenne, perspektywa topograficzna).

EN

Visual perception allows human being to undertake everyday actions including the activities that involve reconstruction of observed objects with the use of the language of fine arts. The aim of conducted studies, which referred to abilities to present a uniform triangular prism, was to define the course of development of drawing representations of the prism that was located in the field of vision of the observer. The applied method of document analysis, which focused on drawings of 6–9 year old children, allowed to indicate characteristic features of created graphic representations. The essential problem became the question about some changes in the drawings presenting observed prism, which occurred in particular age groups of children. It became important to determine some drawing models and the course of changes in terms of used colours and per-spective (flat, spatial and topographic perspective).

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Rysunki osób niewidomych od urodzenia i ociemniałych. Studium porównawcze

Graficzny zapis graniastosłupa obserwowanego przez dzieci w wieku 6–9 lat