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The role of sketching within the process of creative maturation of an architect in 21st century – sketching from nature in cognitive development

100%
Chrzanowska O.
Interdyscyplinarne Konteksty Pedagogiki Specjalnej
|
2019
|
issue 26
PL
In the XXIst century, there is a debate whether an architect should practise freehand drawing. This article covers statements about both advantages and drawbacks concerning this activity. Firstly, sketching remains an universal and timeless medium in cognitive development for artists, due to its engagement with various types of deep concentration at once, such as: practical, theoretical, aesthetic or scientific attention focus. What is more, through the medium of freehand drawing from nature, an architect is introduced to experience natural and build environment, by both reason and physical presence in a setting. In addition to this, there is a strong resemblance of methods within cognitive and creative process of an architectural design. On the other hand, the concepts of artistic freedom and genius, which appeared in XXth century, seem to strongly support the idea, that there is a little or no purpose of learning, development, and practise for an artist. Apart from that, recently there happen to be a common belief that manual methods lose their importance in an era of super fast and precise technology or hyper-realistic visualizations and simulations. Freehand drawing fails to reach the standards of the temporary definition of an ideal. If other qualities of manual techniques remain unrecognised, such methods could be abandoned, lose popularity and recognition. These and other controversiesconcerning freehand drawing are presented and discussed In conclusion, to show XXth and XXIst century’s approach towards this problem several architectural studios and their methods are introduced. Among many others there are modern architects: Peter Zumthor, Le Corbusier, Louis Kahn, Alvar Aaltoand Frank Gehry, that provide numerous examples of drawings, paintings, studies and sketches from nature. Moreover they emphasize the crucial role of manual techniques within architectural design too. To summarise there is a quotation from Alvar Aalto with a remark about this topic: It is not through simple sketches and superficial similarities that they [painting, sculpture, architecture] influence each other, but through “materia”: an intellectual analysis of the chosen material.
2

Nieznany list Cypriana Norwida do Charles’a Blanca (1813–1882)

58%
Sikorska-Krystek A.
Pamiętnik Literacki
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2022
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vol. 113
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issue 3
225-241
PL
Autorka artykułu przybliża nieznany dotychczas list Cypriana Norwida znajdujący się w Archiwum Narodowym w Paryżu (Archives nationales, Paris), gdzie został on skatalogowany jako „Projet de réformes des arts”. Odnaleziony list poety z września 1871 został zaadresowany do Charles’a Blanca (1813–1882), dyrektora Wydziału Sztuk Pięknych (Les Beaux-Arts) we francuskim Ministerstwie Instrukcji Publicznej, Kultu i Sztuk Pięknych (Ministère de l’Instruction publique, des cultes et des beaux-arts). Genezę tej korespondencji autorka upatruje w ówczesnych źródłach prasowych poświęconych działaniom Blanca w ramach piastowanego przez niego stanowiska. W swej korespondencyjnej wypowiedzi Norwid podjął m.in. wątek kondycji materialnej współczesnych mu artystów, zwrócił też uwagę na potrzebę doceniania szkicu, który traktował jako autonomiczne, pełnowartościowe dzieło.
EN
The author of the paper gives an account of an unknown to this day Cyprian Norwid’s letter preserved in Archives nationales (National Archives), Paris, where it was catalogued as “Projet de réformes des arts” (“A Project of Fine Arts Reform”). The letter, dated September 1871, was addressed to Charles Blanc (1813–1882), the director of Les Beaux-Arts in the French Ministère de l’Instruction publique, des cultes et des beaux-arts (Ministry of Public Instruction, Cults, and Fine Arts). The author sees the origin of the correspondence in the then press sources on Blanc’s activities linked to his position. In his letter, Norwid raises, inter alia, the issue of material condition of his fellow artists, and pays attention to the necessity of appreciating the sketch which he viewed as an autonomous, full-value work.
3
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ASPEKTY SPORTOWE W REPERTUARZE POLSKICH GRUP KABARETOWYCH

58%
Bańka A.
Zeszyty Naukowe KUL
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2017
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vol. 60
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issue 2
213-224
EN
The term game defines the style or behavior of a musician, performer, or actor, because certain features distinguish him from others through the interpreted role. Games whose rules are based on competition are mimic games or sports, while those based on illusion concern the type of theater. Fun is a complex cultural phenomenon that is closely related to other phenomena of collective life. In Latin, the term “ludus” means game, play, but also public shows and games. The Olympic Games are a popular sporting event. They do not only affect the sport field, but they penetrate deeply into the culture. They unite not only the community associated with the sports environment, but also entire nations and other communities. Many Polish cabaret groups present sporting events depicting performances of Polish representatives, successes, failures, the most famous athletes as well as the profession of the sports reporter.
PL
Termin gry określa styl lub zachowanie muzyka, wykonawcy czy aktora, gdyż pewne cechy wyróżniają go spośród innych poprzez interpretowaną rolę. Gry, których zasady opierają się na współzawodnictwie to gry naśladowcze, czy sporty, natomiast te oparte na złudzeniu wskazują na rodzaj teatru. Zabawa jest złożonym zjawiskiem kulturowym, które ściśle wiąże się z innymi zjawiskami życia zbiorowego. W języku łacińskim zabawę określa ,,ludus” oznaczające grę, zabawę, ale i publiczne widowiska i igrzyska. Igrzyska Olimpijskie są wydarzeniem sportowym cieszącym się dużą popularnością. Nie dotyczą jedynie płaszczyzny sportowej, ale przenikają także głęboko do kultury. Jednoczą nie tylko społeczność związaną ze środowiskiem sportowym, ale również całe narody i inne zbiorowości. Wiele polskich grup kabaretowych przedstawia wydarzenia sportowe obrazując występy polskich reprezentantów, sukcesy, porażki, najbardziej znane i charakterystyczne sylwetki sportowców, a także zawód sprawozdawcy sportowego.
4
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Na aukcji i w galerii – o kilku nieznanych realizacjach plastycznych Norwida

58%
Chlebowska E.
Studia Norwidiana
|
2015
|
vol. 33
147-160
EN
The history of Norwid’s visual works still has numerous secrets, which is not strange considering the fact that the approximate proportion of the number of the surviving works and ones that are lost is 3:2, with the overall number of the works that can be ascribed to the author of Solo a little exceeding two thousand. The awareness of the fact that there may be unknown works whose number cannot be estimated, but there is no doubt that they additionally broaden the area of the terra incognita in the world of Norwid’s pictures, still makes the problem more difficult. The article presents four unknown up till now visual works by Norwid that appeared on the world market of works of art in recent years. These are: three drawings – A Portrait of a Bearded Man,  A View of an Interior with a Child, a sketch A Man Putting Up Posters and one water color entitled Pythia, that is an extraordinary example of a carefully touched up composition with sensu stricto artistic values. The presentation is accompanied by an attempt to locate the mentioned pictures on the map of Norwid’s visual works.
5

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

58%
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 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.
6

Na aukcji i w galerii – o kilku nieznanych realizacjach plastycznych Norwida

58%
Chlebowska E.
Studia Norwidiana
|
2015
|
vol. 33
147-160
EN
The history of Norwid’s visual works still has numerous secrets, which is not strange considering the fact that the approximate proportion of the number of the surviving works and ones that are lost is 3:2, with the overall number of the works that can be ascribed to the author of Solo a little exceeding two thousand. The awareness of the fact that there may be unknown works whose number cannot be estimated, but there is no doubt that they additionally broaden the area of the terra incognita in the world of Norwid’s pictures, still makes the problem more difficult. The article presents four unknown up till now visual works by Norwid that appeared on the world market of works of art in recent years. These are: three drawings – A Portrait of a Bearded Man, A View of an Interior with a Child, a sketch A Man Putting Up Posters and one water color entitled Pythia, that is an extraordinary example of a carefully touched up composition with sensu stricto artistic values. The presentation is accompanied by an attempt to locate the mentioned pictures on the map of Norwid’s visual works.
7
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Z Norwidowskiego Archiwum Zenona Przesmyckiego (3). Opisy rysunków Norwida ze zbiorów Wiktora Gomulickiego

58%
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.
8
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Niezrealizowany projekt przebudowy zamku Gryf autorstwa Valentina von Saebisch

47%
Świdrak M.
Architectus
|
2019
|
issue 1(57)
79-94
PL
W artykule omówiono nieznany dotychczas rysunek autorstwa Valentina von Saebisch odnoszący się do zamku Gryf. Choć rysunek nie jest datowany, to z pewnością powstał na krótko przed wybuchem wojny 30-letniej, dzięki czemu stanowi niezwykle cenne źródło wiedzy o przedmiotowej rezydencji. Rysunek ma podwójny charakter – zawiera szczegółową inwentaryzację zastanego wyglądu zamku, a także przedstawia proponowaną wizję jego przebudowy. Korzystając z inwentaryzacji, autor artykułu koryguje dotychczasowe tezy dotyczące wyglądu zamku na początku XVII w. Ponadto tekst omawia zaproponowaną przebudowę w kontekście współczesnej jej architektury rezydencjonalnej na Śląsku, mecenatu Schaffgotschów, a także twórczości Valentina von Saebisch.
EN
The article discusses the hitherto unknown design for remodelling of the Gryf castle drawn by Valentin von Saebisch. Even though the drawing is undated, it is clear that it was made prior to the Thirty Years’ War which makes it an invaluable source for research on the Gryf castle. The drawing has a double character – it contains a condition survey of the property and a design of remodelling of the residence. Using the condition survey, the article discards some of the hitherto hypotheses about the shape of the castle and provides new, credible information on the matter. Moreover, the paper delves into a comparison between the proposed design and the wider panorama of contemporary Silesian residential architecture, Schaffgotsch’s patronage and work of Valentin von Saebisch.
9
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Z Norwidowego Archiwum Zenona Przesmyckiego (2): Opisy rysunków z albumu Konstancji Górskiej

47%
Chlebowska E.
Studia Norwidiana
|
2011
|
vol. 29
157-187
PL
The article gives a catalogue list of the missing collection of Norwid's artistic works that once belonged to Konstancja Górska; the list was compiled by Zenon Przesmycki in 1914. The collection numbered nearly 80 sketches and drawings. It was the greatest collection of the known collections of artistic Norwidiana built up by a person belonging to the poet's closest circle of friends. Przesmycki's list comprises detailed descriptions of drawings made by the author of Solo in Konstancja Górska's private album (69 drawings) and descriptions of 11 loose works accompanying the album. Górska's collection was characterized by the fact that it included items dealing with a great variety of subjects. There were religious, legendary-literary, fantastic-symbolic and genre compositions in it. Portraits were a particularly numerous group; the group included, among others, portraits of Adam Mickiewicz, Prince Adam Jerzy Czartoryski, Maria Kalergis, Zygmunt Krasiński, Henryk Kamieński, Józef Bohdan Zaleski, and also the portrait of the owner of the album, as well as two self-portraits. The editorial elaboration of Przesmycki's text has been preceded by introductory remarks containing a description of the collection and specifying the circumstances of its gathering.
10
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Realia białoruskie w szkicach z podróży Melchiora Wańkowicza

36%
Хмяльніцкі М.
Studia Białorutenistyczne
|
2015
|
vol. 9
EN
The article represents an attempt to study the presence and functioning of Belarusian realities in sketch-reportages of the polish writer and journalist M. Wańkowicz. Belarusian component in the artistic and publicistic heritage of M. Wańkowicz is revealed and characterized through the context of the cultural borderland (chronotop, Polish-Soviet border, traditions, landscape, literature, etc.).
PL
Artykuł został poświęcony realiom białoruskim w szkicach z podróży polskiego pisa­rza i dziennikarza Melchiora Wańkowicza. Autor opisuje i charakteryzuje elementy biało­rus­kie w dorobku artystycznym i publicystycznym M. Wańkowicza (chronotyp, granica polsko-radziecka, tradycje, pejzaż, literatura i inne).
RU
Артыкул прысвечаны даследаванню прысутнасці і функцыянаванню беларускіх рэалій у нарысах-рэпартажах польскага пісьменніка і журналіста М.Ваньковіча. Праз кантэкст культурнага пагранічча выяўлены і ахарактарызаваны праявы беларускасці ў мастацкай і публіцыстычнай спадчыне М. Ваньковіча (хранатоп, польска-савецкая мяжа, традыцыі, пейзаж, літаратура і інш.
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