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Leonardo północy. O estetyce Albrechta Dürera

100%
Konik R.
Studia Philosophica Wratislaviensia
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2020
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vol. 15
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issue 1
61 - 69
EN
Albrecht Dürer was German, but it was Italy he loved and followed the example of. Along with Erasmus of Rotterdam, he was one of the first to instil the ideas of Italian humanism in northern Europe, paying attention to the study of ancient culture, and thus fighting for the renewal of art in the spirit of the Renaissance. Dürer believed that using the patterns developed in Florence, the art of imaging would achieve unprecedented narrative power. The uniqueness of the artist from Nuremberg was also that he was able not only to assimilate and synthesise German Gothic art with the achievements of the Florentine school, but also to develop his own vision of the theory of art taking into account the specifics of native art. His research on the theory of movement, the implementation of objects into the structure of the image, the search for the perfect beauty in woodcut and copper engraving can be considered to be unique and pioneering projects in Germany. The influence of Dürer on the sphere of Renaissance iconography is invaluable, but unfortunately it is often omitted in the literature as secondary or even insignificant. The article shows that Dürer’s theoretical influence on the shape of early modern art is noteworthy.
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Marks, realizm i socrealizm - wokół zagadnienia realizmu w powojennej polsce

100%
Kaźmierczak M.
Nowa Krytyka
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2014
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issue 33
121-133
EN
In the paper, the author describes one of currents in Marx-inspired arts and aesthetics, as present in post-war Poland. The first part focuses on the aesthetic views of Marx and Engels. The second one analyzes the ideological background of social realism in the light of the Polish philosophy (Stefan Morawski “Why the Artwork Should Be Realistic?”). The third one offers a counterpoint by introducing an alternative model of Marx-inspired realism, as perceived by Władysław Strzemiński (from “The Theory of Vision”) and Morawski (in the review of Strzemiński's essay). The conclusion uses Morawski's-own article (“About the Realism As an Artistic Category”) to undermine the concept of social realism as built on wrong and ahistorical interpretations of Marx and Engels.
3
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"Czysta widzialność" w estetyce formalnej Konrada Fiedlera

63%
Kaźmierczak M., Warszawski U.
Internetowy Magazyn Filozoficzny Hybris
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2017
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vol. 39 (4)
EN
Nowadays still not well known, Konrad Fiedler was an extremely original philosopher of art and an inspiring follower of Kant. He created a theory of art’s autonomy and his pioneering thought contributed not only to the formalist theory of art but also and foremost to creating an epistemology that later became a foundation of theories of art stressing the uniqueness of seeing and raising the status of visual representations. The artistic way of seeing, according to him, undiscloses the principles of how the world emerges from nothingness of chaotic sensations – it is the way of seeing that presents „pure visibility”. According to Fiedler, this way of seeing is the basis of each true artistic creative act.
4
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Miejsce teorii widzenia w filozofii George'a Berkeleya

63%
Szymańska-Lewoszewska M.
IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych
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2014
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vol. 26
59-76
EN
The aim of this article is to show the meaning of the central role and the place of the new theory of vision in Berkeley’s philosophy. Apart from its value in explaining the phenomenon of visual perception it is important in bringing God closer to the life of men, which was the aim of Berkeley’s thought. The visual language which is gradually revealed as a part of the new theory of vision influences human seeing and understanding of the world and their organization of moral life.
5
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Artistic Inspiration: Initiation of an Artistic Communication

38%
Władyka-Łuczak Z.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2019
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vol. 54
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issue 3
223-236
PL
Przedstawiony artykuł to próba odpowiedzi na pytanie: Kiedy i z jakiego powodu pojawia się inicjacja przekazu artystycznego?Analiza kierująca do końcowego wniosku została przeprowadzona na podstawie autoetnograficznej analizy z procesu tworzenia Pomnika Początków Miasta Łodzi. Głównym jej wątkiem było poszukiwanie granicy pomiędzy stanem przedtwórczym a twórczym w trakcie pracy artysty nad dziełem.Z przeprowadzonej analizy wynika, że: „Niezależnie od tego, czy pracuję nad rzeźbą, która została zlecona, czy rzeźbię tylko dla siebie, proces inicjacji stanów przedtwórczych i twórczych wygląda podobnie. Zawsze rozpoczynam pracę od zgromadzenia materiałów. Postępuję tak, jak chcą tego konstruktywiści, przeprowadzam rozpoznanie elementów odnoszących się do różnorakich systemów dyferencyjnych. […] Mam świadomość, że oczekiwany stan przejścia ze stanu przedtwórczego do twórczego może nastąpić w każdej chwili. Dzisiaj, po wielu latach, już wiem, że nie warto oceniać wartości zebranych materiałów, inicjacja stanu twórczego i tak przyjdzie sama”. Istotą zainicjowania postawy twórczej jest wykształcenie umiejętności obserwacji otaczającej artystę rzeczywistości, a co istotniejsze – wykształcenie umiejętności wydobywania z niej tego, co już w całym tym skomplikowanym procesie jest tym, co zwykliśmy nazywać inspiracją. Granica stanu przedtwórczego a twórczego powstaje w chwili, w której artysta podejmuje decyzję o przeniesieniu zauważonego fragmentu rzeczywistości do tworzonego właśnie dzieła. Ocena wartości dzieła sztuki to osobne zagadnienie, które w artykule zostało pominięte.
EN
The article is an attempt to answer the question: When and why is artistic communication initiated?The analysis which leads to the final conclusion was conducted on the basis of an autoethnographic analysis of the process of creating Pomnik Początków Miasta Łodzi (Monument to the Beginnings of Łódź). Its main element was the search for the border between the pre-creative and the creative states during an artist’s work. The analysis indicated that: “Regardless of whether I am working on a sculpture which was commissioned or a sculpture for myself, the processes of triggering precreative and creative states are similar. I always begin work by collecting the material. I work as constructivists would like me to: I study the elements which refer to various differentiation systems. [...] I am aware of the fact that the expected transition from the pre-creative to the creative state can happen at any moment. Today, after many years, I already know that it is not worth evaluating the gathered material – the triggering of the creative state is going to happen either way.” The core of triggering the creative attitude is the development of the skills for observing the reality which surrounds an artist, and even more importantly: the development of the skills of extracting from it that which we are used to calling inspiration in the whole complex process. The line between the pre-creative and creative states emerges in the moment when an artist decides to transfer a fragment of the reality they noticed to the work of art they are creating. The evaluation of a work of art is a completely different issue, which was omitted in this article.
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