Likovna kritika na Slovenskem s primerom Ludvika Pandurja

magistrsko delo

Eva Božič (Author), Mojca Puncer (Mentor), Branka Vičar (Mentor)

Abstract

Predmet raziskovanja v pričujočem interdisciplinarnem magistrskem delu je likovna kritika s primerom slikarja Ludvika Pandurja, katerega slikarski opus delimo na tri obdobja: prvo, postakademsko smer imenujemo Adakta. Za obdobje je značilno lirično doživljanje prizorov samote. Drugo obdobje njegovega opusa lahko imenujemo ekspresivna figuralika. V njem se je vsebinsko in formalno spremenil način slikanja figure - v ospredju so predvsem risarski elementi. Tretje obdobje Pandurjevega opusa lahko označimo z besedno zvezo abstraktna stilizacija, kjer je figura skoraj popolnoma razkrojena. Likovna kritika se je na Slovenskem začela razvijati v začetku 20. stoletja in je bila sprva zelo polemična in pisana s strani strokovnjakov in strokovnjakinj. Pred drugo svetovno vojno, ko je bilo poseganje onkraj likovnih meja vsakdanje, je bila likovna kritika bolj razširjena in tipološko bolj diferencirana. Po drugi svetovni vojni je postajala manj polemična in predvsem opisna. V kontekstu zgodovinskega obdobja po drugi svetovni vojni se je likovna kritika omejila na predvsem akademski in kataložni tip likovne kritike. V osemdesetih letih 20. stoletja se je pričela nagla rast števila likovnih kritik, ki je danes že dosegla točko, ko vsem kritikam sploh ni več mogoče slediti; likovna kritika je trg tako preplavila, da nad njo nimamo več nadzora. Likovne kritike nam danes ne dajejo več pozitivne ali negativne ocene likovnih del, ampak nam nudijo le vrednostno oceno, ki utemelji umetniško vrednost likovnih del. Kodificirana logika kapitalizma, ki je po formalni osamosvojitvi zajela tudi slovenski prostor, namreč usmerja tudi likovno kritiko. Danes so likovne kritike reducirane zgolj na hvalo umetnikov in opisov njihovih del. Analiza stanja likovne kritike na Slovenskem in ocena stanja globalne likovne kritike, povzeta po umetnostnem zgodovinarju in kritiku Jamesu Elkinsu, pokažeta, da je likovna kritika v krizi, saj je po drugi svetovni vojni postajala vedno bolj nepolemična in predvsem opisna. Žanrska analiza likovnih kritik je potrdila obstoj podžanrov likovne kritike, ki izkazujejo ujemanje s tipi likovne kritike po Elkinsovi klasifikaciji in pokazala, da v Sloveniji prevladujejo kataložni tip likovnih kritik, opisne likovne kritike in poetične likovne kritike dela Ludvika Pandurja. Likovno kritiko umeščamo v odzivne žanre, ki so po Martinovem modelu del širše žanrske družine zgodb. Ugotavljamo, da se kataložna in poetična tipa likovne kritike umeščata med interpretativne žanre, znotraj katerih ju lahko žanrsko dodatno klasificiramo kot strokovno in poetično interpretacijo. Analiza je pokazala, da se zgolj opisna likovna kritika umešča v žanr kritike. Kataložno (po žanrski terminologiji strokovno) in poetično (po žanrski terminologiji poetično) likovno kritiko povezuje namen, vendar pa prva to dosega s terminološkim aparatom likovne kritiške stroke, medtem ko poetična kritika uporablja poetične izraze, metafore, primere ipd. Namen opisne likovne kritike je podati vrednostno sodbo umetniškega dela in je edini tip kritike, ki vključuje to obvezno strukturno enoto. Z analizo smo dokazali, da se način izražanja estetske vrednostne sodbe spreminja glede na register in tip kritike, saj v kataložnem eseju in poetični likovni kritiki prevladujejo čustveno obarvani izrazi, v opisni likovni kritiki pa je razmerje med strokovnim izrazjem in čustvenim izrazjem poenoteno. Likovna kritika Pandurjeva dela pozitivno vrednoti. Spričo razstav smo ugotovili, da kritika Pandurjevih del ni regionalno zamejena, kritike Pandurjevih del spremljamo po celotni Sloveniji in tudi v mednarodnem prostoru.

Keywords

magistrska dela;likovna kritika;slovensko slikarstvo;ekspresivna figuralika;abstrakcija;kataložni eseji;žanrska analiza;registri;razstavni katalogi;avtoportreti;

Data

Language:	Slovenian
Year of publishing:	2017
Typology:	2.09 - Master's Thesis
Organization:	UM FF - Faculty of Arts
Publisher:	[E. Božič]
UDC:	75(497.4):929Pandur L.(043.2)
COBISS:	23275016
Views:	1141
Downloads:	202
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Other data

Secondary language:	English
Secondary title:	Art criticism in Slovenia with the example of Ludvik Pandur
Secondary abstract:	The subject of the research in this interdisciplinary master's thesis is the art criticism with the example of the painter Ludvik Pandur, whose artwork is divided into three periods: the first, post-academic course is called Adakta. This period is known for lyrically experiencing the scenes of solitude. The second period of his opus can be called an expressive figuration. The way of painting the figure has changed in content and form - the drawing elements are primarily in the foreground. The third period of Pandur's opus can be labeled with the phrase abstract stylization, where the figure is almost completely decomposed. In Slovenia the art criticism began to develop at the beginning of the 20th century and was initially very polemic and written by experts. Before the World War II, when the interference beyond the artistic boundaries was common, the art criticism was more extensive and typologically more differentiated. After the World War II it became less polemic and more descriptive. In the context of the historic period after the World War II, art criticism is limited to the academic and catalog type of art criticism. In the 1980s began the rapid rise in the number of art critics, which has now reached the point where it is no longer possible to follow all the criticisms; the art criticism is so overwhelmed by the market that we no longer have control over it. Nowadays art criticism doesn't deliver positive or negative evaluation of artworks anymore, but only provides us with the valuation that justifies the artistic value of artwork. The commodified logic of capitalism, which after formal independence captured the Slovene territory, also directs art criticism. Today art criticism is reduced merely to the praise of artists and the descriptions of their works. The analysis of the condition of art criticism in Slovenia and the assessment of the condition of global art criticism, summarized by the art historian and critic James Elkins, show that art criticism is in crisis, since it became increasingly nonpolemic and mainly descriptive after the World War II. The analysis of genres of art critics confirmed the existence of subgenres' of art critics which show consistency with the types of art criticism according to Elkins classification and reveal that in Slovenia catalog type of art criticism, descriptive art criticism and poetic art criticism of Ludvik Pandur's works prevail. We place art criticism in response genres, which are according to Martin's model a part of the broader class of genre stories. We can see that the catalog and poetic types of art criticism are among the interpretive genres within which genre can be further classified as professional and poetic interpretation. The analysis has shown that mere descriptive art criticism places itself in the genre of criticism. Catalog (according to genre terminology professionally) and poetic (according to genre terminology poetically) art criticism is connected by the purpose, however the first one achieves that with the terminological tool of the art critiquing profession, while poetic criticism uses poetic expressions, comparatives, etc. The purpose of descriptive art criticism is to give the judgment of the value of the artwork and is the only type of critique that includes this vital structural unit. The analysis has shown that the method of expressing aesthetic judgment of the value is changing according to the register and the type of criticism because emotionally colored expressions predominate in the catalog essay and descriptive art criticism; nevertheless in the descriptive art criticism the relationship between proficient expression and emotional expression is unified. The art criticism of Pandur's work is positively valued. In the light of the exhibitions, we found that the critique of Pandur's works is not regionally bound; we track the critique of Pandur's works throughout Slovenia and in the international ground.
Secondary keywords:	master theses;art criticism;Slovene painting;expressive figuration;abstraction;catalog essays;analysis of genre;registers;exhibit catalogs;self-portraits;
URN:	URN:SI:UM:
Type (COBISS):	Master's thesis/paper
Thesis comment:	Univ. v Mariboru, Filozofska fak., Oddelek za umetnostno zgodovino, Oddelek za slovanske jezike in književnosti
Pages:	IV, 207 f.
ID:	10847037