DC pole | Wartość | Język |
dc.contributor.author | Botor, Ireneusz | - |
dc.date.accessioned | 2018-03-22T10:28:38Z | - |
dc.date.available | 2018-03-22T10:28:38Z | - |
dc.date.issued | 2014 | - |
dc.identifier.citation | Studia Artystyczne, 2014, nr 2, s. 23-29 | pl_PL |
dc.identifier.issn | 2391-9965 | - |
dc.identifier.uri | http://hdl.handle.net/20.500.12128/1474 | - |
dc.description.abstract | Let us not wait till we are offered something we can make use
of. Rather, let us ponder what is it that we are able to call our
achievements. This simple and universal thought is reflected
in culture. We can endow others with what they lack. This
completely different quality that we reach for, can turn into our
inspiration, or part of our cultural identity. Globalization makes
us seek for otherness that can later transmute into identity
badges, or to put it otherwise, components of cultural identity.
The achievements of the Baroque painter Michael Willmann
can be interpreted within the frames of otherness. His otherness
becomes conspicuous when we become aware that it was
determined culturally and spiritually – aligned with mysticism
in Silesia, where he was active. Some of his pieces of art depict
places labeled as postindustrial areas.
Can his pieces of art, shaped in such conditions, be regarded
as part of cultural identity? This question emerged over the years
of the author’s research, and its outcome, which is a broad
research project published by Wrocław University. There
Willmann appears to have been considered one of the most
renowned art phenomena of the time in Central Europe.
However, a certain disparity is depicted in this opinion and the
presence of this artist in minds of his contemporaries, especially
on postindustrial lands. Former studies in Polish art refer to their
characteristics which cannot contain his art. The otherness of Willmann – when transmixed – can be
included in general oeuvre. In the frames of postindustrial lands,
it can certainly enrich its cultural image by introducing quality
of highest order into the landscape often associated with porous
and rough industrial forms as well as with nonprofessional
culture. Undoubtedly, his achievements can be viewed as worth
and enriching. Furthermore, by its transformations in modern art
Willmann’s oeuvre can introduce qualities of different order that
lay behind. This was done by artists from Krakow; however, the
issue of building cultural identity while remaining open to this
element is still valid. | pl_PL |
dc.language.iso | pl | pl_PL |
dc.rights | Uznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Polska | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/3.0/pl/ | * |
dc.subject | otherness | pl_PL |
dc.subject | mysticism | pl_PL |
dc.subject | cultural identity | pl_PL |
dc.subject | transformation | pl_PL |
dc.title | Co zrobić z innością Michaela Willmanna? | pl_PL |
dc.type | info:eu-repo/semantics/article | pl_PL |
Pojawia się w kolekcji: | Artykuły (WSiNoE)
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