DC pole | Wartość | Język |
dc.contributor.author | Pawlus, Natalia | - |
dc.date.accessioned | 2018-03-22T10:28:50Z | - |
dc.date.available | 2018-03-22T10:28:50Z | - |
dc.date.issued | 2014 | - |
dc.identifier.citation | Studia Artystyczne, 2014, nr 2, s. 39-41 | pl_PL |
dc.identifier.issn | 2391-9965 | - |
dc.identifier.uri | http://hdl.handle.net/20.500.12128/1476 | - |
dc.description.abstract | From times immemorial disputes whether to include the white
color in the palette of colors have taken place. Without opting
for either of the sides, we cannot neglect the importance of the
color white as it changes other colors in the palette, and
introduces light. Symbolic significance of the color white
is conditioned culturally and individually. Depending on the
epoch, this color has been viewed variously, sometimes it
prevailed and was considered irreplaceable, other times, for
instance in the Middle Ages, it was supplanted by elaborate
ornaments rendered in chromatic hues. Nonetheless, the 20th
century emphasized the significance of this color, whereas the
figure responsible for its widespread application in architecture
was Le Crobusier. In his manifesto proclaimed after World
War I, Le Crobusier favored and emphasized its significant
nature. Furthermore, the color white was an important element
for modern artists, their idea of art and their artistic work. The
color white has been unveiling its endless reserves and still does
so while highlighting its value in artistic work. | 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 | the color white | pl_PL |
dc.subject | color | pl_PL |
dc.subject | exhibition | pl_PL |
dc.subject | asset | pl_PL |
dc.subject | Le Crobusier | pl_PL |
dc.title | Barwa biała | pl_PL |
dc.type | info:eu-repo/semantics/article | pl_PL |
Pojawia się w kolekcji: | Artykuły (WSiNoE)
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