Faktura v risbi in sliki

diplomsko delo

Lucija Govekar (Author), Anja Jerčič Jakob (Mentor)

Abstract

Osrednjo temo diplomskega dela predstavlja faktura v risbi in sliki. V teoretičnem delu diplomske naloge najprej definiram likovno mišljenje in opazovanje, ki je ključno že pred začetkom samega umetniškega procesa, prav tako pa tudi pri refleksiji umetniškega dela, ko smo v vlogi opazovalca umetniškega dela nekoga drugega. Sledi obrazložitev modalitet likovnega mišljenja, kar nas privede do linije, kjer se ne moremo izogniti njenim modalitetam. Podrobno opišem in s primeri objasnim, kakšna je aktivna, pasivna in medialna linija. Pozornost posvetim oblikotvornim potencialom linije, saj ti vplivajo na dojemanje risbe ali slike. Del diplomske naloge, ki direktno povezuje teoretično–praktični del, je poglavje o fakturi, podrobneje o fakturi izbranih referenčnih umetnikov. Skozi analiziranje fakture Janeza Bernika, Egona Schiela in Willema de Kooninga sem iskala vzporednost lastnih del z njihovimi deli. Na moja dela pa ni imela vpliva samo njihova faktura, ampak tudi njihovo razmišljanje o umetnosti in proces dela. Na koncu praktičnega dela sem iskala značilnosti lastne fakture v svojih delih.

Keywords

likovno mišljenje;aktivno likovno opazovanje;likovni jezik;linija;faktura;risba;slika;

Data

Language:	Slovenian
Year of publishing:	2021
Typology:	2.11 - Undergraduate Thesis
Organization:	UL PEF - Faculty of Education
Publisher:	[L. Govekar]
UDC:	73(043.2)
COBISS:	77630211
Views:	107
Downloads:	14
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	Facture, paint quality of drawing and painting
Secondary abstract:	The aim of this thesis is to present the theme of facture in drawing and painting. Theoretical part begins by defining artistic thinking and observation, both of which are essential even before the beginning of an artistic process. Furthermore, it is also important when reflecting upon an artwork made by somebody else. The thesis continues with an explanation of modulations within artistic thinking and the point where those modulations can no longer be avoided. Through detailed description and examples, this paper demonstrates the difference between an active, passive and medial line and then continues by drawing attention to the morphological potential of a line, which affects our perception of a drawing or a painting. The part of this thesis which directly connects the theoretical and practical part is a chapter on fractures, specifically about fractures in artistic work of reference artists. Analysing the fractures in the works of Janez Bernik, Egon Schiele and Willem de Kooning, this thesis sought a parallel between their works and those of my own. The latter were not only influenced by the artists’ fractures but also their thoughts about art and the work process itself. The end of practical part is dedicated to finding features of fractures in my works of art.
Secondary keywords:	fine arts;likovna umetnost;
File type:	application/pdf
Type (COBISS):	Bachelor thesis/paper
Thesis comment:	Univ. v Ljubljani, Pedagoška fak., Likovna pedagogika
Pages:	61 str.
ID:	13394423