Iluzija v slikarstvu

diplomsko delo

Nuša Dijak (Avtor), Anja Jerčič Jakob (Mentor)

Povzetek

V diplomskem delu sem se posvetila vlogi iluzije v likovnem ustvarjanju. Na teoretični ravni me je zanimalo predvsem kako vzpostaviti iluzijo tridimenzionalnosti v sliki, na praktični ravni pa sem se spraševala, ali sploh lahko prikažemo iluzijo dvodimenzionalnosti na tridimenzionalnem objektu. Diplomsko nalogo sem torej razdelila na strokovno teoretično raziskovanje in empirični del. Naslov naloge je Iluzija v slikarstvu. Oba pojma vključujeta bistvo moje diplomske naloge. SSKJ (Slovar slovenskega knjižnega jezika, b.d.) pravi, da je iluzija: »iluzíja -e ž (ȋ) predstava, navadno optimistična, ki ni osnovana na resničnosti; slepilo, samoprevara«. Po definiciji Muhoviča (2015, str. 544) so optične iluzije »…pojavi, pri katerih vidni aparat o naravi zaznavnega materiala oblikuje napačne domneve, katerih napačnost je mogoče razkriti s sodelovanjem drugih čutov, z razširitvijo perceptivnega konteksta ali z odstranjevanjem sprožilnih mehanizmov«. Pri iluziji v splošnem pomenu besede lahko rečemo, da gre torej za neke vrste prevaro. V svoji diplomski nalogi sem se usmerila v slikarsko umetniško področje. Diplomska naloga je sestavljena iz dveh delov in sicer iz strokovno teoretičnega raziskovanja na začetku, v katerem sem se ukvarjala z vprašanjem kaj je bistveno in na kaj moramo biti pozorni pri ustvarjanju iluzije v slikarstvu, predvsem na področju grajenja likovnega prostora. Teoretični del diplomske naloge sem podrobno razdelala in vsak segment temeljito obravnavala. Najprej sem se poglobila v osnove ploskve in prostora, od tega kaj ju definira, do tega kako preidemo iz enega v drugega. Velik del diplomske naloge sem posvetila likovnemu problemu barve kot likovne prvine. Za tem sem se osredotočila na iluzijo v slikarstvu. Zanimalo me je, kako prikazati tridimenzionalnost v prostoru, in kako je za dosego tega učinka potrebno graditi likovni prostor. Nato sem raziskovala različnosti, ki se pojavljajo v načinih modernističnega slikanja ter ugotavljala, kako način slikanja vpliva na končni učinek likovnega dela. Sledi empirični del, kjer sem uporabila metodo praktičnega dela. V metodi praktičnega dela sem izvajala in predstavila svoje avtorsko ustvarjanje – ukvarjala sem se z doseganjem nasprotnega učinka, se pravi kako na tridimenzionalnem objektu doseči iluzijo dvodimenzionalnosti. Nato sem analizirala lastna likovna dela in ob tem iskala povezave ter odgovarjala na vprašanja, ki sem si jih zastavila. Zanimalo me je na kakšne načine se slikanje na živi osebi razlikuje od klasičnega slikanja po platnu ter ali sploh lahko prikažemo iluzijo dvodimenzionalnosti na tridimenzionalnem objektu. V praktičnem delu sem ustvarjala na klasični dvodimenzionalni nosilec v akrilni tehniki in na telo, kjer sem uporabljala tehniko poslikave telesa. Ob tem sem ugotavljala, ali prihaja do razlik med slikanjem po živi osebi in slikanjem po platnu. Hkrati me je zanimalo, kakšne prilagoditve so za to potrebne. Ugotavljala sem razlike v modernističnih načinih slikanja in kako le-te vplivajo na moje praktično ustvarjanje. Nastala slikarska dela sem razstavila skupaj s fotografijami poslikav na telo.

Ključne besede

prostor;barva;ploskovna vloga barve;iluzionistična vloga barve;avtoportret;poslikava telesa;

Podatki

Jezik:	Slovenski jezik
Leto izida:	2021
Tipologija:	2.11 - Diplomsko delo
Organizacija:	UL PEF - Pedagoška fakulteta
Založnik:	[N. Dijak]
UDK:	75(043.2)
COBISS:	75311363
Št. ogledov:	207
Št. prenosov:	8
Ocena:	0 (0 glasov)
Metapodatki:

Ostali podatki

Sekundarni jezik:	Angleški jezik
Sekundarni naslov:	Illusion in painting
Sekundarni povzetek:	In the thesis, I focused on the role of illusion in painting. On a theoretical level, I was primarily interested in how to establish the illusion of three-dimensionality in a painting, and on a practical level, I wondered if I could display the illusion of two-dimensionality on a three-dimensional object. I, therefore, divided the thesis into professional theoretical research and empirical part. I titled my thesis Illusion in Painting. Both terms include the essence of my thesis, which I will delve into. SSKJ (Slovar slovenskega knjižnega jezika, b.d) says that the illusion is: “illusion -e ž (ȋ) a performance, usually optimistic, not based on reality; blindness, self-deception”. According to Muhovič's definition (2015, p. 544), optical illusions are "… phenomena in which the visual apparatus forms erroneous assumptions about the nature of perceptual material, the erroneousness of which can be revealed by the participation of other senses, by expanding the perceptual context or by removing triggers". One could interpret an illusion, in the general sense of the word, as some kind of deception. In the thesis, I focused on the field of painting. The thesis consists of two parts: professional theoretical research, where I dealt with the question of what is essential and what we must pay attention to while creating the illusion in painting, especially in the field of building art space. I divided the theoretical part of the thesis thoroughly and gradually. I first explored the basics of plot and space; from what defines them to how we move from one to the other. I devoted a large part of my thesis to the artistic problems of colour as an artistic element. Following, I focused on the illusion in painting; I was interested in how to show the three-dimensionality in space and how necessary it is to build an art space to achieve this effect. I then explored the differences that emerge in the ways of modernist painting and found out how the way of painting, affects the final effect of the artwork. The theoretical part is followed by the empirical part, where I used the method of practical work. I performed and presented my work. I was engaged in achieving the following effect: how to achieve the illusion of two-dimensionality on a three-dimensional object. I wanted to investigate how painting on a person differs from classical painting on a canvas, and whether I can show the illusion of two-dimensionality on a three-dimensional object. In the practical part, I created a classic two-dimensional bracket in the acrylic technique and on the body, using the body painting technique. I was trying to find out if there were any differences between painting on a person and painting on a canvas. I was intrigued by the question of which adjustments I needed to make to achieve that. I also found out what the differences in modernists' style of painting are and how it affects my artwork. I exhibited the paintings alongside the photographs of body paintings.
Sekundarne ključne besede:	Slikarstvo;Iluzionizem (likovna umetnost);
Vrsta datoteke:	application/pdf
Vrsta dela (COBISS):	Diplomsko delo/naloga
Komentar na gradivo:	Univ. v Ljubljani, Pedagoška fak., Likovna pedagogika
Strani:	IX, 63 str.
ID:	13320852