DOI Heft:
Abstrakty i informacje o autorach
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.42381#0312
310
ABSTRAKTY
meanings and its deciphering in the context of complex nineteenth-century
Polish history.
Agnieszka Zabłocka-Kos, Uniwersytet Wrocławski, Wydział Nauk Historycz-
nych i Pedagogicznych, Instytut Historii Sztuki, ul. Szewska 36, 50-139
Wrocław, Poland.
ABSTRACT. Kilian Heck, Das kaum noch Sichtbare sichtbar machen. Zum
Faraglioni-Gemälde von Carl Blechen im Nationalmuseum Posen [Making
What’s Hardly Visible More Visible. On the So-called Faraglioni Painting by
Carl Blechen from the National Museum in Poznań], „Artium Quaestiones”
XXVII, Poznań 2016, Adam Mickiewicz University Press, pp. 57-65, ISSN
0239-202X.
The author presents results of research on the so-called faraglioni painting
(Faraglioni-Landscape) by the Berlin painter Carl Blechen from the National
Museum in Poznań. The painting illustrates the problem of visibility limit.
Blechen’s interest in this optical phenomenon was characteristic of his paint-
ings after 1830.
Kilian Heck, Universität Greiswald, Caspar David Friedrich Institut - Lehr-
stuhl für Kunstgeschichte, Rubenowstr. 2b, D-17489 Greifswald, Germany.
ABSTRACT. Łukasz Kiepuszewski, Trzy kroki w stronę obrazów. Pierre
Bonnard i percepcyjne opóźnienie [Three Approaches to Paintings. Pierre
Bonnard and the Delay of Perception], ,,Artium Quaestiones” XXVII, Poznań
2016, Adam Mickiewicz University Press, pp. 67-92, ISSN 0239-202X.
The topic of the essay are interpretations of Pierre Bonnard’s paintings of-
fered by three art historians: Jean Clair, John Elderfield, and Yves-Alain
Bois. They reveal interesting tensions among individual interpretations.
Taking the painting as a starting point triggers differences in interpretation
not just at the level of theoretical discourse, but in respect to visualization
itself. A particular quality of Bonnard’s works, rooted in the coexistence of
the rhythms of organization and disorder, does not demonstrate any unifying
gestalt. His paintings establish an “inconclusive” relationship between the
part and the whole, which results in continuing deference and delay in the
integration of motifs and elements of the pictorial field.
Łukasz Kiepuszewski, Uniwersytet im. Adama Mickiewicza, Wydział Histo-
ryczny, Instytut Historii Sztuki, al. Niepodległości 4, 61-874 Poznań, Poland.
ABSTRACT. Marcel Skierski, Twórczość Aliny Szapocznikow w świetle her-
meneutyki egzystencjalnej (na wybranych przykładach) [The Art of Alina
Szapocznikow and Existential Hermeneutics], „Artium Quaestiones” XXVII,
ABSTRAKTY
meanings and its deciphering in the context of complex nineteenth-century
Polish history.
Agnieszka Zabłocka-Kos, Uniwersytet Wrocławski, Wydział Nauk Historycz-
nych i Pedagogicznych, Instytut Historii Sztuki, ul. Szewska 36, 50-139
Wrocław, Poland.
ABSTRACT. Kilian Heck, Das kaum noch Sichtbare sichtbar machen. Zum
Faraglioni-Gemälde von Carl Blechen im Nationalmuseum Posen [Making
What’s Hardly Visible More Visible. On the So-called Faraglioni Painting by
Carl Blechen from the National Museum in Poznań], „Artium Quaestiones”
XXVII, Poznań 2016, Adam Mickiewicz University Press, pp. 57-65, ISSN
0239-202X.
The author presents results of research on the so-called faraglioni painting
(Faraglioni-Landscape) by the Berlin painter Carl Blechen from the National
Museum in Poznań. The painting illustrates the problem of visibility limit.
Blechen’s interest in this optical phenomenon was characteristic of his paint-
ings after 1830.
Kilian Heck, Universität Greiswald, Caspar David Friedrich Institut - Lehr-
stuhl für Kunstgeschichte, Rubenowstr. 2b, D-17489 Greifswald, Germany.
ABSTRACT. Łukasz Kiepuszewski, Trzy kroki w stronę obrazów. Pierre
Bonnard i percepcyjne opóźnienie [Three Approaches to Paintings. Pierre
Bonnard and the Delay of Perception], ,,Artium Quaestiones” XXVII, Poznań
2016, Adam Mickiewicz University Press, pp. 67-92, ISSN 0239-202X.
The topic of the essay are interpretations of Pierre Bonnard’s paintings of-
fered by three art historians: Jean Clair, John Elderfield, and Yves-Alain
Bois. They reveal interesting tensions among individual interpretations.
Taking the painting as a starting point triggers differences in interpretation
not just at the level of theoretical discourse, but in respect to visualization
itself. A particular quality of Bonnard’s works, rooted in the coexistence of
the rhythms of organization and disorder, does not demonstrate any unifying
gestalt. His paintings establish an “inconclusive” relationship between the
part and the whole, which results in continuing deference and delay in the
integration of motifs and elements of the pictorial field.
Łukasz Kiepuszewski, Uniwersytet im. Adama Mickiewicza, Wydział Histo-
ryczny, Instytut Historii Sztuki, al. Niepodległości 4, 61-874 Poznań, Poland.
ABSTRACT. Marcel Skierski, Twórczość Aliny Szapocznikow w świetle her-
meneutyki egzystencjalnej (na wybranych przykładach) [The Art of Alina
Szapocznikow and Existential Hermeneutics], „Artium Quaestiones” XXVII,