Search results

1

Perception of disabled persons held by children and adolescents based on their artwork

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Krajewska-Kułak E., Kułak W., Humienik-Dworakowska U., Łukaszuk C., Lewko J., Van Damme-Ostapowicz K., Lankau A., Rozwadowska E., Guzowski A., Cybulski M.

Progress in Health Sciences

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2012

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vol. 2

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issue 2

116-124

EN

Purpose: To evaluate perceptions of disabled persons held by children and adolescents aged 4 to 15 years based on their artwork. Materials and methods: 192 children's drawings were analyzed. These were submitted from all of Poland, from hospital recreation centers, schools, art studios, sick children, children with special needs, and healthy children in the "My disabled friend” contest. Results: Most artworks were from children aged from 8 to 10 years old (40.6%), 4 to 7 (33.9%) and 11 to 14 (17.2%). The remaining artwork was completed by adolescents from 15 to 20 years old - 16 (8.3%) persons (including the oldest with intellectual disabilities). The artworks were divided into four age groups: 4-7, 8-10, 11-14, and over 15. Various techniques were used: torn paper collage, collage, wax scratch, coloring pages, painting using poster paints and watercolors. Conclusions: The children's drawings show their positive attitude towards people with disabilities. Children are aware of the need to help and support people with disabilities. In the imagination of children, a disabled person can fully participate in society

2

The perception of violence in children’s drawings

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Krajewska-Kułak E., Kułak W., Stelcer B., Jasiński M., Kowalczuk K., Łukaszuk C., Guzowski A., Cybulski M., Lewko J., K., Van Damme-Ostapowicz

Progress in Health Sciences

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2016

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vol. 6(1)

78-85

EN

The aim of the paper is to evaluate the perception of violence held by children and adolescents aged 8 to 16 years based on their artworks. 163 children’s drawings submitted from across Poland on "Children against violence." were analyzed. These pictures were analysed according to their contents. The artworks were made using various techniques: torn paper collage, collage, wax scratch, coloring pages, painting using poster paints and watercolors. Drawings have been classified in twelve thematic groups: "aggression against things", "peer violence","violence and addiction", "family violence", "workplace violence", "on-line violence," verbal violence", the continuity of violence", difficult choices" ,and " help ". Children and adolescents are good observers and they see various forms of violence, especially signs of bullying, and the impact of addictions on their development. Children know how to avoid and reduce violence.

3

Newly discovered drawings by architect Filiberto Lucchese

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Zapletalová J., Bryson Gustová A.

Umění (Art)

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2020

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vol. 68

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issue 4

389-398

EN

Three drawings have recently been found in a vicarage in Melide (Switzerland) on the shore of Lake Lugano, in an archive together with many miscellaneous and qualitatively diverse drawings and prints. We propose that these three drawings should be attributed to Filiberto Lucchese (Melide 1606 — Vienna 1666), a key figure in architecture in Central Europe around the mid-17th century. The first drawing, which an architect created in free hand without preliminary under-drawing underneath or outlining, show a longitudinal crosssection through a covered hall two storeys high with twelve window openings set one above another on six axes. The drawing is a design for the stucco decoration of the hall, in which we can observe a variability of the decoration of the window jambs and suprafenestras above the first row of windows, with the deployment of a range of different architectonic and vegetative elements, busts, cartouches with curling stucco decor or just simple geometric framing. This variety in the approach to the treatment of decoration on a single wall adds dynamics and rhythm to this spontaneous and high-quality drawing, but also indicates that it was not a definitive design intended for stucco masters to realise. It was probably meant by the architect either just for himself, as a way of clarifying the most suitable system of decor, or as a basis for discussion with the commissioner on which decorative system to choose. By contrast the second and third drawings, which show stucco decoration for the vault of one salon and detail for the realisation of stucco in another different room, are made with great precision and must have served as definitive models for stucco artists. A family emblem in the form of a watermark on the paper of the third drawing has enabled us to identify the commissioner as Karl Eusebius Prince of Liechtenstein (1611–1684). This finding then led to the hypothesis that at the least the first drawing was a design for the interior of the main hall of the Liechtenstein Chateau in Úsov, but we do not know whether Lucchese and his colleagues ever actually realised the decoration of the interiors of the Úsov Chateau. The text offers a stylistic comparison of the drawings from Melide with the decorative systems of other buildings realised by Filiberto Lucchese and his team, specifically the chateau in Červený Kameň and in Holešov.

CS

Na faře v Melide (Švýcarsko) na břehu Luganského jezera se dochovaly ve složce s řadou nesourodých a kvalitativně rozmanitých kreseb a grafických listů tři kresby, které v tomto textu navrhujeme připsat Filibertu Lucchesemu (Melide 1606 — Wien 1666), klíčové osobě architektury ve střední Evropě kolem poloviny 17. století. První kresba, již architekt vytvořil volnou rukou bez předchozích podkreslení či podrýsování, znázorňuje podélný řez zastřešeným dvoupatrovým sálem s dvanácti okenními otvory umístěnými nad sebou v šesti osách. Kresba představuje návrh štukové dekorace sálu, přitom můžeme pozorovat variabilitu výzdoby okenních ostění a suprafenester nad první řadou oken pomocí různých architektonických a vegetativních prvků, bust, kartuší se zavíjeným štukovým dekorem nebo jen jednoduchým geometrickým rámováním. Tato rozrůzněnost v přístupu pojednání dekorací na jedné stěně, jež této spontánní a vysoce kvalitní kresbě dodává na dynamice a rytmu, nám umožňuje vyvodit, že práce nepředstavuje definitivní návrh k realizaci určený pro výkonné štukatéry. Práce mohla spíš sloužit buď pro architekta samotného, jenž si její pomocí ujasňoval nejvhodnější systém výzdoby, anebo jako podklad pro diskusi architekta s objednavatelem při rozhodování, jaký výzdobný systém zvolit. Oproti tomu druhá a třetí kresba, jež znázorňují štukové dekorace na klenbě jednoho sálu a detail pro realizaci štuku v neznámé jiné místnosti, jsou vyvedeny s velkou precizností a sloužily jako definitivní zadání pro štukatéry. Rodový erb v podobě vodoznaku na papíře třetí kresby umožnil identifikovat osobu objednavatele, kterým byl Karel Eusebius kníže Liechtenstein (1611–1684). Díky tomuto zjištění se následně podařilo určit, že přinejmenším první kresba představovala návrh výzdoby interiéru hlavního sálu liechtensteinského zámku v Úsově. Nelze však určit, zda Lucchese a jeho spolupracovníci realizovali výzdobu interiérů úsovského zámku. Text přináší stylistické srovnání návrhů z Melide s výzdobnými systémy jiných staveb, jež realizoval Filiberto Lucchese se svými spolupracovníky, zejména zámků v Červeném Kameni a v Holešově.

4

The drawing work of Johann Christoph Handke (1694-1774): New observations, New attributions

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Valeš T., Roberts S.

Umění (Art)

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2022

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vol. 70

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issue 2

193-207

EN

The drawings of Moravian artists of the 17th and 18th century continue to be under-researched. One relative exception is the work of Johann Christoph Handke (1694–1794), who was based in Olomouc. To his hitherto known drawings we can now add several works that have been largely hidden in gallery collections as a result of mistaken authorial attributions (for example to the circle of Martino Altomonte). The works newly associated with Handke not only casts more light on the painter’s techniques in planning individual commissions, but also helps us to gain a better understanding of his use of particular sources of inspiration, above all prints. It shows an orientation to South German artistic production (J. G. Bergmüller) and is more evidence of the importance of this region for artists active in Moravia. The most important works newly attributed to Handke include first and foremost a drawing from the Albertina in Vienna that shows St. Francis Xavier administering the eucharist to the sick, which is a design for a painting for one of the fields in the Chapel of St. Francis Xavier in the former Jesuit Church of Our Lady of the Snows in Olomouc (1743). Handke’s authorship has also been confirmed in the case of the drawing Christ and the Blessed Virgin Mary Appearing to St. Augustine from the National Gallery Collections in Prague, which was previously linked with the Viennese painter Michelangelo Unterberger. In its conception Handke drew on Josef Haselbacher’s university thesis (1719), designed by Johann Georg Bergmüller. In relation to the already several times published drawing The Visitation of the Blessed Virgin Mary in Szépművészeti Múzeum in Budapest, by contrast, it has been demonstrated that this was not intended as a design for the Oratorium Marianum of Wrocław University, but was most probably connected with the decoration of the demolished Church of Our Lady in the Předhradí district of Olomouc.

CS

Kresby moravských umělců 17. a 18. století stále patří k relativně málo probádaným tématům. Určitou výjimkou je kreslířská tvorba v Olomouci působícího Jana Jiřího Handkeho (1694–1794). Počet jeho dosud známých prací tohoto charakteru můžeme nyní výrazně rozšířit o několik děl, která byla v galerijních sbírkách převážně skryta kvůli mylným starším autorským připsáním (například do okruhu Martina Altomonta). Práce nově spojené s Handkem nejen lépe odhalují malířovy pracovní postupy při plánování jednotlivých zakázek, ale také pomáhají lépe pochopit jeho práci s konkrétními inspiračními zdroji, především s grafickými listy. Ukazují tak mimo jiné orientaci na jihoněmeckou uměleckou produkci (J. G. Bergmüller) a jsou dalším dokladem důležitosti tohoto regionu pro autory činné na Moravě. K nejdůležitějším dílům nově připsaným Handkemu patří především kresba z vídeňské Albertiny, zachycující sv. Františka Xaverského udělujícího eucharistii nemocným, která je návrhem na malbu pro jedno z polí v kapli sv. Františka Xaverského v bývalém jezuitském kostele Panny Marie Sněžné v Olomouci (1743). Handkeho autorství se podařilo potvrdit rovněž u kresby Kristus a Panna Maria se zjevují sv. Augustinovi ze sbírek Národní galerie v Praze, která byla dříve spojena se jménem vídeňského malíře Michelangela Unterbergera. Handke při jejím koncipování vycházel z univerzitní teze Josefa Haselbachera (1719), navržené Johannem Georgem Bergmüllerem. U již několikrát publikované kresby Navštívení Panny Marie ze Szépművészeti Múzeum v Budapešti se naopak podařilo prokázat, že nebyla určena jako návrh pro Oratorium Marianum vratislavské univerzity, ale s největší pravděpodobností se vázala k dnes nedochované výzdobě kostela Panny Marie na Předhradí v Olomouci.

5

Przekroczyć ut pictura poesis. Wizualizacje frazeologizmów i metafory w malarstwie Bronisława Linkego

100%

Lipowski K.

Biuletyn Historii Sztuki

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2010

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vol. 72

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issue 4

455-478

EN

In his searches for creative inspiration, Bronisław Linke (1906-1962) also made use of phrasal forms. There thus arose many works composed in the main as propaganda material for the Polish communist system of the 1950s. The artist made use of the picture contained in the ‘linguistic tissue’ (author’s terminology) of phraseology in his bid to almost literally ‘render’ it into image form by making it visible to the language of art. A numerous group of drawings intended to unmask the true character hidden behind the exterior image thus arose. Linke’s paintings are themselves dominated by language. The works of the artist under examination demonstrate the harsh confrontation between the word and the painting was effaced. Linke in his creative work ignored the crossover from word to picture and back again, since the borderline between them was from his perspective an illusion

6

Reality in blind people’s drawings. Research procedures and tools

88%

Niestorowicz E.

Szkoła Specjalna

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2018

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vol. LXXIX(5)

341-353

EN

The study presented in this article looks at how the phenomena of reality are constructed in totally blind people’s drawings. Analysis focuses on drawing skills and their development seen based on drawings made by people who have been blind since birth. Raised-line drawings made on a special drawing film for blind people were analyzed. The analysis covered: 1. Blind people’s cognitive abilities – the way they see phenomena. 2. Abilities and ways of presenting phenomena in drawings. 3. Determining stages in the development of drawing skills in blind children as compared to the development of drawing skills in sighted children. The study was motivated by the desire to answer the following questions: What similarities and differences are there in the process of drawing by people with disabilities and in their drawings? What esthetic features (content, form, uniqueness of presentation, manner of displaying emotions) do blind children’s drawings have? How are the phenomena of reality depicted in blind people’s drawings? What difficulties do blind people encounter in making a drawing on a two-dimensional surface? Does blind children’s artistic development take place in a similar way as sighted children’s artistic development? Are blind children at a similar level of artistic development as their sighted peers? I proposed a model of artistic creation that takes into consideration the content and form of drawings and the artist’s creativity and emotionalism which was used as a tool in the analysis. All aspects of the analysis refer to the stages of drawing development in sighted children proposed by: Stefan Szuman, Viktor Lowenfeld, W. Lambert Brittain, and Georges-Henri Luquet.

7

Canonical Size for Real-Word Objects in Drawings Performed under Haptic Control

88%

Szubielska M., Wojtasiński M., Biedroń K., Bobel M., Chudziak N.

Roczniki Psychologiczne

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2020

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vol. 23

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issue 2

191-200

EN

To date canonical size for physical objects has been exclusively investigated in the visual domain and termed canonical visual size. As the visual and haptic modalities are interconnected in object processing, we have investigated if canonical size occurs in the tactile domain, namely, in embossed drawings made by sighted adults when blindfolded. 17 participants were asked to draw 16 objects of 8 different ranks of physical size. In the visual domain, they drew on sheets of paper, and in the tactile domain, they drew (when blindfolded) on special plastic sheets for embossed graphics haptically controlling the performance with hands. In both the visual and the tactile domain the size of drawings increased linearly with the logarithm of the physical size of real-world objects indicating occurrence of canonical size effect in both domains. Our findings demonstrated that canonical size is not only visual in character but that it is also revealed in a haptic drawing task. It suggests that spatial images (at least visual and tactile) are shared instead of being unimodal in nature.

8

The Witkacy Collection and Exhibition at the Museum of Middle Pomerania in Słupsk

75%

Zgodzińska B.

Estetyka i Krytyka

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2013

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issue 4(31)

49-52

EN

This article describes the development of the Witkacy Collection in the Słupsk Museum. It details the original acquisitions in 1965 and the subsequent additions to the collection. While most of the exhibit consists of portraits, the author explains that other artistic works have been added to the collection, including drawings and oil paintings. In addition to the art works, the museum also maintains archival documents including postcards, letters, manuscripts, typescripts, and first editions.

9

Peter Paul Rubens, Nicolas-Claude Fabri de Peiresc and Joan of Arc

75%

Borusowski P.

Werkwinkel

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2015

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vol. 10

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issue 2

25-35

EN

In 2011 a discovery was made at the Department of Prints and Drawings of the National Museum in Warsaw - a drawing hitherto described as a Kneeling knight by an anonymous seventeenth-century artist, turned out to be Joan of Arc, a sketch well-known to art historians studying the oeuvre of Peter Paul Rubens, although thought to be lost during the Second World War. The drawing, until now known only through the black and white photograph, could be thoroughly analysed for the first time. In the context of information thus obtained, the historical context of creating the sketch transpired as an equally important matter, including the hypothetical role that may have been played in its creation by Nicolas-Claude Fabri de Peiresc.

10

Artists in the Eyes of Children – Semiotic Analysis of the Meanings about Artists Constructed by Children

63%

Karczmarzyk M., Szelągowska D.

Kultura i Edukacja

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2018

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issue 2(120)

131-141

EN

The problem around which this study was constructed is the contemporary art and a person, who creates this art – an artist, and their authentic perception by the child. A modern vision of the child too often shows the artist in a distorted, incomplete or reduced way. This kind of children knowledge, based on the patterns and stereotypes, reduces the reflectivity of children, unnecessarily distorts their judgment and closes the road ahead to a full and critical participation in the world. The study is based on the analysis of interviews and children’s drawings centered around the perception of the profile of an artist by children. It results from the analysis of the research material gathered during the study that this is a stereotypical vision, and the artist is still associated with a person who remains beyond the reach of “normal” society. The conducted research shows the diversity of the types of meanings that children aged 5–7 attribute to the term “artist” and “artistry”. The naive ideas on this subject created by children prove to be a collection of beliefs of a partially common and often completely different nature. For a pedagogue, the ultimate purpose of the research is to obtain knowledge which will allow effective changes in education, in this case, in art education. The investigation of meanings which children attribute to concepts concerning the artistic phenomena may allow to create a strategy of transmission of knowledge of art history and to design the creative activities connected with the broadly-understood visual arts.

11

Grafki i rysunki

51%

Łabuz A.

Laboratorium Kultury

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2014

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vol. 3

239-269

12

Ignacio Domeyko y las bellas artes

51%

Drien M., Guzmán F.

Roczniki Humanistyczne

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2021

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vol. 69

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issue 4

229-240

ES

La historiografía ha prestado atención a la actividad del científico polaco Ignacio Domeyko como de fundador de la mineralogía en Chile, reformador del Instituto Nacional y sucesor de Andrés Bello en la rectoría de la Universidad de Chile. El propósito del presente texto es analizar la poco conocida vinculación de Domeyko con las Bellas Artes. Esta dimensión del científico polaco, radicado en Chile desde 1838, se puede observar en su actividad como dibujante, su condición de amante de las artes y propietario de obras, su labor como promotor de la educación artística en Chile y sus ideas en torno a la función de las artes en la vida social.

EN

The Polish scientist Ignacy Domeyko made his name in historiography primarily as the founder of mineralogy in Chile, as one of the reformers of the Chilean National Institute, and as the successor to Andres Bello as rector of the Universidad de Chile. The aim of this study is to analyse Domeyko’s connections with art, which have been hitherto poorly researched. This area of his activity, which was permanently linked to Chile since 1838, was reflected primarily in his drawings, interest in art and collection of works of art, as well as in his efforts to promote artistic education in Chile and his views on the function of art in social life.

PL

Ignacy Domeyko i sztuki piękne Polski uczony Ignacy Domeyko zapisał się w historiografii przede wszystkim jako założyciel mineralogii w Chile, reformator Instytutu Narodowego i następca Andresa Bello na stanowisku rektora Universidad de Chile. Celem niniejszej pracy jest analiza, słabo jak dotąd zbadanych, związków Domeyki ze sztuką. Ten wymiar aktywności polskiego uczonego, związanego na stałe z Chile od 1838 r., znalazł odbicie przede wszystkim w jego rysunkach, zainteresowaniu sztuką i kolekcjonowaniu dzieł, a także w pracy na rzecz promowania edukacji artystycznej w Chile i w jego poglądach na temat funkcji sztuki w życiu społecznym. La historiografía ha prestado atención a la actividad del científico polaco Ignacio Domeyko como de fundador de la mineralogía en Chile, reformador del Instituto Nacional y sucesor de Andrés Bello en la rectoría de la Universidad de Chile. El propósito del presente texto es analizar la poco conocida vinculación de Domeyko con las Bellas Artes. Esta dimensión del científico polaco, radicado en Chile desde 1838, se puede observar en su actividad como dibujante, su condición de amante de las artes y propietario de obras, su labor como promotor de la educación artística en Chile y sus ideas en torno a la función de las artes en la vida social.

Refine search results

Perception of disabled persons held by children and adolescents based on their artwork

The perception of violence in children’s drawings

Newly discovered drawings by architect Filiberto Lucchese

The drawing work of Johann Christoph Handke (1694-1774): New observations, New attributions

Przekroczyć ut pictura poesis. Wizualizacje frazeologizmów i metafory w malarstwie Bronisława Linkego

Reality in blind people’s drawings. Research procedures and tools

Canonical Size for Real-Word Objects in Drawings Performed under Haptic Control

The Witkacy Collection and Exhibition at the Museum of Middle Pomerania in Słupsk

Peter Paul Rubens, Nicolas-Claude Fabri de Peiresc and Joan of Arc

Artists in the Eyes of Children – Semiotic Analysis of the Meanings about Artists Constructed by Children

Grafki i rysunki

Ignacio Domeyko y las bellas artes