Search results

1

Czapski wobec Cézanne’a. Znaczenia autorytetu.

100%

Kiepuszewski Ł.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

|

2013

|

issue 2(28)

70-79

EN

The paper focuses on the contents of Józef Czapski’s programme article 'O Cézannie i świadomości malarskiej' [On Cézanne and painterly conscience] published by the Institute of Art Propaganda in Warsaw in 1937. The detailed analysis of the text firstly, indicates Czapski’s specific understanding of the oeuvre of the French painter in a wide context of European art history. Secondly, it reveals rhetoric background of the article seen within the frames of the Kapists’ massive campaign aiming at reassessment of Polish painting tradition in the 1930s. Therefore, the reading is not only a report on the contents of the text about Cézanne, with a special attention paid to dynamics of meanings that construct it, but also deals with the question of a characteristic strategy of affecting the reader. Within the paper the author also makes an attempt at finding Cézanne’s motifs in the self-portraits painted by Czapski. The inter-pictorial dialogue refers to a complex phenomena of pressure, which is experienced by artistic identity and personality in view of a suggestive and self-imposing model.

2

Cézanne ve filosofii Martina Heideggera

71%

Blecha I.

Filosofický časopis (Philosophical Journal)

|

2015

|

vol. 63

|

issue 4

483-499

EN

Philosophical reflexion on art and artistic activity played a very important role in Heidegger’s intellectual development. His famous paper The Birth of an Artistic Work (Der Ursprung des Kunstwerks) marked, after all, the emergence of a fundamental shift in his philosophy. Art, in its specific approach to the world, might aid the working out of a “new beginning” in philosophy since, in Heidegger’s view, the involvement of art in classical metaphysics had been the cause of error. Heidegger found a common voice, at different times, with poetry, fine arts (in one period he was very occupied with Paul Klee) and architecture. Only at the end of his life did he discover for himself the genius of the French painter Paul Cézanne, and he found in him an expression that almost coincided with the expression of his own thoughts. This comparison of Cézanne and Heidegger attempts to uncover other possible connections between the work of these two figures.

DE

Die philosophische Reflexion der Kunst und der künstlerischen Tätigkeit spielte in Heideggers geistiger Entwicklung eine sehr wichtige Rolle. Seine berühmte Abhandlung Der Ursprung des Kunstwerks war sogar Ausgangspunkt eines wesentlichen gedanklichen Schubs in Heideggers Philosophie. Die Kunst mit ihrem spezifischen Ansatz konnte dabei dem gedanklichen Erschließen des sog. neuen Anfangs der Philosophie verhelfen, da deren Verschmelzung mit der klassischen Metaphysik laut Heidegger ein Irrweg war. Heidegger fand Geistesverwandtschaften wechselweise in der Poesie, in der bildenden Kunst (in einer bestimmten Phase beschäftigte er sich intensiv mit dem Werk Paul Klees) oder in der Architektur. Erst gegen Ende seines Lebens entdeckte er für sich das Genie des französischen Malers Paul Cézanne und fand in ihm einen nahezu identischen Ausdruck seiner eigenen Gedanken. Durch einen Vergleich von Cézanne und Heidegger wird versucht, mögliche weitere Zusammenhänge in den Werken dieser beiden Persönlichkeiten aufzudecken.

3

Anny E. Popp, Art Historian of the Vienna School: Disappeared and Forgotten?

61%

Vojvodík J.

Slovo a smysl - Word & Sense

|

2021

|

vol. 18

|

issue 38 (Special Issue)

65-84

EN

This essay explores the works of art historian Anny Edeltrauth Popp (1891–?). One of the leading experts of the 1920s and 1930s on Michelangelo and the art of the Italian Renaissance, Popp seems to have disappeared without a trace in 1936. In the years 1919–1922, she published several studies with a distinctive and inventive analytical-hermeneutical approach to art history; the studies themselves deal with Cézanne’s style, Ferdinand Hodler’s compositional principles, Donatello’s relief style, and two artistic methods that have come to be known as Steigerung and Akzentuierung (‘gradation’ and ‘accentuation’) in the art of ancient Egypt.

4

De Gide à Denis ou de Cézanne à Athman : la relation peintre–écrivain face à la question du classicisme

61%

Canovas F.

Romanica Wratislaviensia

|

2017

|

vol. 64

57-73

EN

In 1900, French writer André Gide purchased Maurice Denis’s Homage to Cézanne, nowadays in the collection of Musée d’Orsay. Considered a turning point in Denis’s career, the painting celebrates the new values of classicism that Denis discovered in the company of Gide while in Rome two years earlier. This essay discusses the similarities between the painter’s and the writer’s own definitions of classicism, while focusing also on the way in which each one of them applied this definition to their own work.

5

Zrcadlení Cézannem: poznámka k teorii obrazu u Maurice Merleau-Pontyho

57%

Murár T.

Filosofický časopis (Philosophical Journal)

|

2021

|

vol. 69

|

issue 3

561-577

EN

The study addresses the interpretation of the French painter Paul Cézanne’s art in the thinking of Maurice Merleau-Ponty in 1945. The interpretation is mostly seen as a part of Merleau-Ponty’s argumentation of the phenomenology of perception, but the method itself that Merleau-Ponty used to formulate the meaning of Cézanne’s art is neglected. The study endeavors to connect this overlooked aspect of Merleau-Ponty’s thinking with the art-historical interpretation of Cézanne’s work during the 1930s, combining Merleau-Ponty’s argument with the interpretation of Cézanne’s work articulated by the Viennese art historian Fritz Novotny. The supposition of this comparison is Merleau-Ponty’s direct connection to Novotny when the question arises as to how Merleau-Ponty reacted to late art-historical modernism and by what steps could he transform the perception of fine arts at the end of World War II when, in history and art theory, there is considered to be a fissure between pre-war modernity and the beginning of the “science of the image”.

CS

Studie se zabývá výkladem umění francouzského malíře Paula Cézanna v myšlení Maurice Merleau-Pontyho v roce 1945. Výklad bývá většinou interpretován jako součást argumentace Merleau-Pontyho fenomenologie vnímání, avšak samotný způsob formulace významu Cézannova umění Merleau-Pontym bývá opomíjen. Studie se snaží tento přehlížený aspekt Merleau-Pontyho uvažování propojit s uměleckohistorickou interpretací Cézannova díla ve třicátých letech 20. století, a to spojením Merleau-Pontyho argumentace s interpretací Cézannovy tvorby, kterou rozvinul vídeňský historik umění Fritz Novotny. Předpokladem této komparace je Merleau-Pontyho přímé navazování na Novotnyho, kdy vzniká otázka, jakým způsobem Merleau-Ponty reagoval na pozdní uměleckohistorickou modernu a jakými postupy mohl proměnit vnímání výtvarného umění na konci druhé světové války, kdy se v dějinách i teorii umění uvažuje o zlomu mezi předválečnou modernou a počátkem „vědy o obrazu“.

6

„Co je rozumné, to se (možná) stane skutečným.“

57%

Voldřichová Beránková E., Bartha-Kovács K.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

|

2019

|

vol. 59

90-106

EN

The article proposes a contemporary reflection on Hegel’s famous quote “the real is the rational and the rational is the real” that tradition has often misinterpreted. Inspired by a new reading by JeanFrançois Kervégan (which translates the sentence “the rational will become effective/real and the real/effective will become rational”), the article focuses on one of the possible illustrations of this Hegelian thesis. Émile Zola’s novel The Work consists of a very interesting analysis of the notions of reality, effectiveness and rationality that the author applies to both literature and visual arts. Behind the controversies of Pierre Sandoz and Claude Lantier, it is possible to discern all the debates that opposed Émile Zola to his friend Paul Cézanne.

7

Spojrzenie zwrócone ku wnętrzu

31%

Melberg A.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2011

|

issue 18

191-210

EN

This article presents an analysis of the transformations in the poetics of Rainer M. Rilke. According to the author, the essential impulse for the inception of this evolution had been provided by the encounter of the poet with a series of paintings by French artist Paul Cézanne. The author outlines particular traits in Rilkean poetic variants of modernism: the poet, drawing inspiration from the very same sources as many of his contemporaries (such as, for example, cubists), proposed his own conception of a poetic language. The most important element that constitutes a poem and a poetic image is the rhythm, the fundamental component in the organization of the text. Painterly “overlapping” of planes in a poem becomes thus a kind of a “breath” to take, that opens up a poem to the infinity underlined in the subject. From the experience gained in the visual arts concerning the “attitude and insight”, in turn, a poem attempts to organize a new arrangement for the presented space - ambiguous and in a constant movement.

Refine search results

2 Filosofický časopis (Philosophical Journal)

1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

1 Romanica Wratislaviensia

1 Slovo a smysl - Word & Sense

1 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

1 Bartha-Kovács K.

1 Blecha I.

1 Canovas F.

1 Kiepuszewski Ł.

1 Melberg A.

1 Murár T.

1 Vojvodík J.

1 Voldřichová Beránková E.

2 2021

1 2019

1 2017

1 2015

1 2013