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1

Rytm plastyczny i „wewnętrzna matematyka” percepcji. Przypadek włoskiego malarstwa futurystycznego

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Słodczyk R.
Konteksty - Polska Sztuka Ludowa
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2019
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vol. 73
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issue 4 (327)
176-185
EN
The theory and works of the Futurists are characterized by fascination with movement, the dynamism of things and the surrounding reality. Futurists’ interest in the notion of energy gave a privileged place in their works to visual rhythm. Rhythmic repetition of dissected forms not only allowed to suggest the motion of represented objects, but the abstracted, repetitive patterns created a rhythmic pulsation directly perceived by the viewer. The rhythm of the painting, created by rhythmic vibration and pulsation of shapes and colors, was to give intimation of the universal vibration and interpenetration of matter.
2

O biologii tego, co nieorganiczne. Krystalografia i koncepcje ukrytego życia w historiografii sztuki i architektury początku XX wieku

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Papapetros S., Rejniak-Majewska A.
Konteksty - Polska Sztuka Ludowa
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2019
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vol. 73
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issue 4 (327)
162-175
EN
The text discusses the intersections between the natural sciences investigating the latent energy of the inorganic matter and the art historical studies of such authors as Alois Riegl, Wilhelm Worringer and Aby Warburg. The author reconstructs the discourses of Monist natural philosophy concerning the inner animation of plants, crystals and minerals, especially “biocrystals” and “liquid crystals”, as the newly discovered entities on the verge of organic and inorganic. These scientific explorations and the notion of inorganic animation stirred the imagination of art historians. The concept of inorganic animation was adopted by Wilhelm Worringer in his theory of ornamental styles proposed in his book Abstraction and Empathy: A Contribution to the Psychology of Style (1907). The impact of Monist philosophy is also traceable in Aby Warburg’s conception of art history, in his notion of Pathosformel (pathos formula) understood as a form of static animation, as well as in his conception of the latent posthumous life of images.
3

Natura, czyli plastyczność. Mikrofotografia i sztuka abstrakcyjna

100%
Rejniak-Majewska A.
Konteksty - Polska Sztuka Ludowa
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2019
|
vol. 73
|
issue 4 (327)
148-155
EN
The text discusses the use of microphotography in art publications in the early decades of the twentieth century and the parallels established between microphotography and abstract art. As the author argues, the photographic trend of “New Vision” contributed to the growing presence of microphotography in the popular visual culture of the time, but artists’ concern preceded this popularity. Microphotography brought interest both as a manifestation of an invisible, hidden reality, and for purely aesthetic reasons, as a source of infinite variety of decorative patterns. For artists like Klee and Kandinsky scientific images proved instructive with regard to the elementary structures of design and formative forces of living organisms. Viewed in light of the Monist philosophy of Haeckel, Driesch and Francé, microscopic images were recognized as a demonstration of the infinite plasticity of matter – a document of nature’s universal creative potential that art searched to parallel.
4

Próba objaśnienia metamorfozy roślin fragment

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Von Goethe J. W., Ujma M.
Konteksty - Polska Sztuka Ludowa
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2019
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vol. 73
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issue 4 (327)
120-121
5

Organicyzm, patos i plastyczność emocji w „Nieobojętnej przyrodzie” Sergieja Eisensteina

100%
Jach A.
Konteksty - Polska Sztuka Ludowa
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2019
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vol. 73
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issue 4 (327)
156-161
EN
The text discusses Sergei Eisenstein’s publication Nonindifferent Nature. The author focuses on the notions of organic unity, pathos and plasticity of emotions that form the skeleton of Eisenstein’s concept of “art as a sensitive seismograph”. The “embodied” interpretation of art psychology proposed by Eisenstein results directly from his interest in natural sciences. In this context, Nonindifferent Nature is an interesting reference point for contemporary debates in the field of environmental humanities.
6

Ewolucja i metafora biologiczna w rosyjskiej sztuce nowoczesnej

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Douglas C., Mojsak Ł.
Konteksty - Polska Sztuka Ludowa
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2019
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vol. 73
|
issue 4 (327)
122-135
EN
A particular feature which distinguished modern Russian art from the parallel western developments was its attachment to organic aesthetic. The organic interests of artists such as Kandinsky and Tatlin became obvious in the 1920s, but these were only the later surfacings of a structure that deeply informed very early modernist theory and that was as applicable to poetry as it was to visual arts. In its organic, evolutionary vision of the world the Russian avant-garde drew on a great variety of sources: Goethe’s morphological theories, Romantic philosophy of nature, bergsonian vitalism, Lamarck’s transformationism, and the dissemination of Darwin’s theory of evolution. As the author argues, the vision of a world in continuous evolution was responsible for the rejection of conventional representation and for a shift in the focus in art from the end result – a completed picture of a static object – to the object in flux and the very process of making the work of art.
7

Coś nowego o kwiatach

100%
Benjamin W., Rejniak-Majewska A.
Konteksty - Polska Sztuka Ludowa
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2019
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vol. 73
|
issue 4 (327)
146-147
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