Podoba in zvok

vpliv glasbe na slikarstvo

Katja Hrvatin Jazbec (Avtor), Oto Rimele (Mentor)

Povzetek

Včasih sem se spraševala, zakaj moram vsak teden hoditi na ure klavirja in solfeggia, in se zaradi tega ne morem udeležiti likovnega krožka. Kasneje sem opustila izobraževanje v glasbi in sem se posvetila likovnemu ustvarjanju oziroma slikarstvu. V precej drugačni obliki so se prav tako med glasbo in slikarstvom odločali danes priznani slikarji. Tako se je na primer slikar Paul Klee odločil za slikarstvo, saj bi po lastnem mnenju glasbo lahko samo poustvarjal. Vendar je glasba ostala prisotna v njegovem slikarskem snovanju. Paul Klee spada med ustvarjalce z začetka dvajsetega stoletja. Ta čas je zaznamoval velik tehnični napredek in mnoge družbenopolitične spremembe. Posledično je prišlo do novih načinov ustvarjanja in razmišljanj o le-tem. To je tudi čas, ko nastane prvo abstraktno delo Vasilija Kandinskega. Kandinski je raziskoval povezavo med glasbo in slikarstvom ter navezal prijateljstvo s skladateljem Arnoldom Schönbergom. Zanimivo je, da se je prav v prvi polovici dvajsetega stoletja pojavilo več umetniških skupin, ki so povezale umetnike z različnih področij (slikarstvo, glasba, literatura in drugo). Ni pa glasba vplivala samo na slikarje, tudi glasbeniki so našli navdih in izziv v slikarstvu. Med bolj odmevnimi je primer simfoničnega dela Aleksandra Skrjabina za orkester in barvne orgle z naslovom Prometej: Pesnitev ognja. Skrjabin je s tem delom želel izzvati sinestetično izkušnjo pri gledalcih. Ni bil prvi, ki bi iskal sinestezijo v umetnosti. V zgodovini so nastali številni domisleki, ki bi sočasno nagovarjali naš vizualni in slušni sistem, med temi so tudi barvni čembalo in barvne orgle. V teoretičnem delu diplomskega dela sem našla izhodišča za lastno delo. Praktični del sem raziskovala v dveh projektih. V obeh projektih sodelujem z glasbenikom. Ustvarjanje del in raziskovanje povezave med glasbo in slikarstvom za prvi projekt je potekalo v "ateljeju", v drugem projektu pa se ustvarjanje in raziskovanje dogajata pred gledalci na odru.

Ključne besede

likovna umetnost;slikarstvo;podoba;zvok;glasba;vpliv;vizualni sistem;slušni sistem;sinestezija;abstraktna umetnost;diplomska dela;

Podatki

Jezik:	Slovenski jezik
Leto izida:	2010
Izvor:	Maribor
Tipologija:	2.11 - Diplomsko delo
Organizacija:	UM PEF - Pedagoška fakulteta
Založnik:	[K. Hrvatin Jazbec]
UDK:	73/76(043.2)
COBISS:	17926408
Št. ogledov:	3275
Št. prenosov:	381
Ocena:	0 (0 glasov)
Metapodatki:

Ostali podatki

Sekundarni jezik:	Angleški jezik
Sekundarni naslov:	IMAGE AND SOUND, THE INFLUENCE OF MUSIC ON PAINTING
Sekundarni povzetek:	I used to wonder why I had to attend piano and solfeggio lessons and therefore was not able to attend the painter's circle. Later, I ended my music education in favour of painting. Many acclaimed painters also used to choose between music and painting in rather different ways. For example, painter Paul Klee, chose painting because, in his own words, he could only reproduce music. But nevertheless music stayed present in his painting creativeness. Paul Klee belongs to artists from the beginning of the 20th century. That time is known for great technical advances and for great social and political turmoil. New ways of artistic expression and new thoughts about it arose from that particular situation in history. That was also the time when Wassily Kandinsky created his first abstract painting. Kandinsky was researching the link between music and painting, and started his friendship with composer Arnold Schönberg. The first half of the 20th century was the time when many different art groups formed that connected the artists from different creative areas (painting, music, literature and others). But it wasn't only music that influenced the painters; musicians also took inspiration from and were challenged by painting. One of the more famous examples is Alexander Scriabin's symphonic piece for orchestra and colour organ, Prometheus: The Poem of Fire. With that piece, Scriabin wanted to stimulate a synestetic experience in the viewer. He wasn't the first one to search for synesthesia in art. Throughout history there were many ideas like the colour harpsichord and colour organ that tried to stimulate our visual and hearing systems simultaneously. I used the theoretical part of my diploma as a starting point for my work. I researched the practical part of my diploma in two projects. On both projects I collaborated with musicians. The creation of paintings and research of the link between music and painting for the first project took place in an "atelier". For the second project the creation and research took place on the stage in front of an audience.
Sekundarne ključne besede:	painting;music;visual system;aural system;synaesthesia;abstract art;
URN:	URN:SI:UM:
Vrsta dela (COBISS):	Diplomsko delo
Komentar na gradivo:	Univ. v Mariboru, Pedagoška fak., Oddelek za likovno umetnost
Strani:	110 f.
Ključne besede (UDK):	the arts;recreation;entertainment;sport;umetnost;razvedrilo;zabava;šport;plastic arts;likovna umetnost (kiparstvo in umetna obrt);
ID:	18846