Profundidade: uma dimensão vivida pelo corpo

Este artigo discute a profundidade numa direção oposta à sua objetividade. Não se trata de discorrê-la como uma habituada coordenada do espaço ou como um parâmetro referente à extensão espacial. Desdobra-se aqui a profundidade num nível subjetivo: como uma dimensão vivida pelo corpo. À luz da fenomenologia do filósofo Maurice Merleau-Ponty (1908–1961) e de sua análise dos planos pictóricos do artista Paul Cézanne (1938–1906), enunciam-se algumas considerações sobre a existência da profundidade como uma dimensão que estrutura a relação CORPO-ESPAÇO. A profundidade subjetiva se torna potencialidade para a disciplina da arquitetura ao ser responsável pelo engajamento corpóreo. Palavras-chave: Profundidade; Fenomenologia; Merleau-Ponty; Cézanne; Relação CORPO-ESPAÇO. Abstract This article discusses depth in an opposite direction to its objectivity. It is not a matter of discussing it as a familiar coordinate of space or as a parameter referring to spatial extension. In this article, depth is unfolded on a subjective level: as a dimension lived by the body. Based on the phenomenology of the French philosopher Maurice Merleau-Ponty (1908–1961) and on his analysis of the pictorial planes of Paul Cézanne (1938–1906), some considerations are made about the existence of depth as a dimension that structures the body in the space. Subjective depth becomes a potentiality for the discipline of architecture by attributing plasticity to the BODY-SPACE relationship and by being responsible for corporeal engagement. Keywords: Depth; Phenomenology; Merleau-Ponty; Cézanne; BODY-SPACE relationship

Wczesny okres twórczości Hanny Żuławskiej. Warszawa–Paryż–Gdynia

Hanna Żuławska (1908–1988) was one of the most prominent artists associated with the Tri -City, and dealing with many fields of art: easel and polychrome painting, architectural mosaic, sgraffito, ceramics and small architecture. Her husband was a painter known on the coast: Jacek Żuławski. She is known primarily for her mature work in the 1950s and 60s; it was then that she showed true individuality. From post - -war times, Żuławska was also teacher and professor at the State Higher School of Fine Arts in Gdańsk and the manager of the Kadyny Ceramics Works. Little, if anything, is known of Hanna Żuławska’s work in the interwar period. In 1930–1934, Żuławska studied at the Warsaw School of Fine Arts, among others in the studios of Professors Felicjan Szczęsny Kowarski, Leonard Pękalski and Tadeusz Pruszkowski. It seems that Kowarski’s work in the fields of painting and monumental mosaics had a great influence on Żuławska›s later artistic activity. In the 1930s, Żuławska took part in exhibitions at IPS (Art Propaganda Institute). At that time, the artist experienced a period of fascination with the works of the members of the Paris Committee and Pierre Bonnard and Paul Cèzanne, which resulted in the pair of the artists, Hanna and Jacek, leaving for Paris on a scholarship in 1935. In Paris, the artist studied in the painting studio of Józef Pankiewicz, painted still lifes, city views and quite standard landscapes; she also visited museums and led a lively social life. In May 1938, the works of Hanna and five other Polish painters were presented at the prestigious Bernheim Jeune gallery in Paris. The exhibition was well received by critics in Poland. Hanna and her husband returned to Poland and settled in Gdynia in the autumn of 1938, where Żuławska established contacts with the artistic community of the city. In 1938, the artists joined the Gdynia branch of the Trade Union of Polish Artists and Designers, and actively participated in its exhibitions until the outbreak of World War II. In recognition of their contribution to the development of art in Gdynia, the Żuławskis also received state orders for a monumental painting decoration of the barracks’ common room at Redłowo, for the creation of paintings for the Chapel of the Hospital of the Sisters of Mercy at Kaszubski Square, and for the polychrome entitled ‘Apotheosis of Gdynia’ in the building of the Government Commissariat (designs not preserved). During the Nazi occupation, the Żuławskis were in Warsaw; in November 1944, the artist came to Łańcut near Lublin, where she stayed at an artistic house. In the autumn of 1945, Hanna and Jacek Żuławski together with other residents of the manor house, e.g.: Juliusz Studnicki, Krystyna Łada -Studnicka, Janusz Strzałecki, Józefa and Marian Wnuk, established the State Institute of Fine Arts in Sopot, transformed into the State Higher School of Fine Arts in Gdańsk.

Por una literatura inmoral para el movimiento «derecho y literatura»

Un aspecto teórico a tener en cuenta en los estudios de derecho y literatura, que avanzan en nuestro continente, es qué tipo de literatura analizaremos en esta disciplina. Para este trabajo, me valdré de dos estudios del escritor D. H. Lawrence sobre el pintor Paul Cézanne, que exploran las formas de representación estática de la realidad basadas en la fotografía Kodak y la reproducción de clichés en el arte, ambas propias del arte moral, frente a las cuales se yergue el arte inmoral de Cézanne, caracterizado por su dinamismo relacional y su lucha contra los estereotipos. El arte moral puede ser contrarrestado en nuestro campo con las nociones de polifonía de Bajtín, asociada al dinamismo relacional, y de arte himenóptero de Luque, ligada a los estereotipos. Con ello, espero dar cuenta de cómo una literatura inmoral puede ayudarnos a iluminar los problemas jurídicos que aquejan al ser humano.

Facing Change and Changing Masks

The primary focus of this chapter is the fixed-form mask in its many manifestations, beginning with ‘Death Masks Re-membered’. The difference between performance masks and death masks is theorised, including a discussion of photographs of the death masks of notable figures. The fascination of modernist painters with African masks in British, French and German museums is discussed with reference to the Picasso Primitif exhibition (2017) and to the history of anthropological exhibitions of the ‘savage’ during the early years of Modernism. Indigenous masquerade is further explored by commentary on photographic portraits of the ‘other’, with consideration of the rapport between subject and photographer. Painted images of the mask object and disguised individuals by Paul Cézanne, James Ensor, Émil Nolde and Pablo Picasso are contrasted with Edward Sheriff Curtis’s photos of Native American masking. Modernist innovations in masquerade, like the dance scenography of Loïe Fuller, highlight alternative methods of changing the body image, as well as transforming the human figure into a part-object form (an aspect exhibited also in a painting by Margaret Macdonald Mackinstosh). Modernist Pierrots in Berlin, Copenhagen and St Petersburg, for example, suggest that playful disguise was an almost-universal impulse in Modernism across Europe and the United Kingdom.