Sodobni portret

Povzetek

Ključne besede

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Jezik:	Slovenski jezik
Leto izida:	2012
Izvor:	Ljubljana
Tipologija:	2.11 - Diplomsko delo
Organizacija:	UL PEF - Pedagoška fakulteta
Založnik:	[P. Pergar]
UDK:	7.041.5(043.2)
COBISS:	9469769
Št. ogledov:	1496
Št. prenosov:	276
Ocena:	0 (0 glasov)
Metapodatki:

Ostali podatki

Sekundarni jezik:	Angleški jezik
Sekundarni naslov:	Contemporary portrait
Sekundarni povzetek:	Throughout the years the purpose of the portrait, along with it’s story, has changed considerably. Portrayal is thus not only an imitation of reality, but a sort of pictorial narrative that reveals the soul of the person being portrayed, his or hers historical and social background, values, interests etc. During the Renaissance all forms of art experienced a rejuvenation. This was the first major period in European history of portrait painting; it introduced numerous innovations in painting, such as oil colours, three quarter view portraits, various compositional concepts and different types of portraits (individual-, paired-, group portrait). During the baroque period of European portrait painting, art subscribers (mostly people living in cities, the “bourgeois”) developed new tendencies. Because they strived to look like members of nobility, portrait paintings featured fancy dresses, stage requisites and scenic backgrounds, yet none of those were allowed to overshadow the face of the subject or his clothing. Friendly, family and equestrian portraits also emerged during this time. In Rococo the baroque rigidness was replaced by playfulness, joy, love, eternal youth and court elegance, which were highlighted by natural settings. Painters resurrected the nearly forgotten “pastel” technique, which blends perfectly with rococo motifs. The period of romanticism moved on from the rococo playfulness and ventured into darker territories; namely with the motifs of spirituality and endlessness, which the painters emphasized with colour selection and romantic inclinations. At the beginning of 19th century the concrete art and its aspiration towards the representation of reality as it is took centre stage in portrait painting. With the invention of photography there was a short period of crisis in painting, but the arrival of Impressionism soon brought it back on its feet. Impressionist painters attempted to capture the movements, face expressions or the play of light and shadow. At the same time they also tried to capture the psychological state of the subject. The style of painting has also changed. Instead of gentle transitions between colours, the painters adopted short and abrupt brush strokes, dots (pointillism) and smaller colour surfaces which they laid down next to each other to create the sense of space and volume. The style of painters became ever more individualized and quickly recognizable. The same can be said about 20th century Expressionism, which refrained from any kind of idealistic and naturalistic aesthetic norms in painting. Portrait painters started to explore the subject’s feelings, psyche, soul. Typical traits of this period are figural distortions (both on the outside and inside of the subject), overly emphasized and disproportional body parts, rough stylization and abstract shapes, powerful colour contrasts and complete disregard of spatial rules. Expressionist painters introduced new and innovative approaches and materials. The lines between abstract and figural began to blur. In Postmodernism painting again developed tendencies towards greater communication value and accessibility to the public. Art has always produced new mediums in the course of history. With the invention of photography in 19th century, realistic representations had no place in painting anymore – that function was assumed by photography, which served as a document (similarly to the renaissance paintings). Only when photography ceased to be merely a document of random events or faces, it became equivalent to traditional art forms. Similar process happened with video and internet, which the artists manipulate, create new spaces, reproduce subjects that don’t exist in reality and so on. Artists who work with these new media are – among others – Zora Stančič, Petra Varl and Luc Tuymans. These artists and their work are included in the last chapter, where I also write extensively about the great Slovenian modernistic painter, Gabrijel Stupica. The concept of modern portrait painting is also included in the pedagogical part, which was conducted in the first year class at a secondary school. The theme I chose was a portrait in collage technique.
Sekundarne ključne besede:	fine arts;likovna umetnost;
Vrsta datoteke:	application/pdf
Vrsta dela (COBISS):	Diplomsko delo
Komentar na gradivo:	Univ. Ljubljana, Pedagoška fak., Likovna pedagogika
Strani:	90 f.
Vrsta dela (ePrints):	thesis
Naslov (ePrints):	Contemporary portrait
Ključne besede (ePrints):	slikani portret
Ključne besede (ePrints, sekundarni jezik):	painted portrait
Povzetek (ePrints):	Portert je skozi čas večkrat spremenil svoj namen, vzporedno z njim pa tudi svojo zgodbo. Portretiranje torej ni le poizkus posnemanja realnosti, temveč je nekakšna slikovna pripoved, ki razkriva portertirančevo dušo, njegovo zgodovinsko in socialno zaledje, vrednote, interese idr. V obdobju renesanse, se je na vseh umetnostnih področjih zgodil preporod. Je prvo veliko obdobje evropskega slikanega portreta, ki je slikarstvu doprinesel številne novosti, kot so na primer oljne barve, tričetrtinski pogled, različne kompozicijske rešitve ter več vrst portretnih tipov (samostojni portret, dvojni portret, skupinski portert). V času baroka se v umetnosti evropskega portretnega slikarstva pojavijo nove težnje naročnikov, ki so jih pretežno predstavljali meščani. Le ti so stremeli k temu, da bi se po izgledu čimbolj približali plemstvu, zato so v portretno slikarstvo uvedli preobleke, rekvizite ter scensko ozadje, ki pa nikakor ni smelo prevladati nad obrazom upodobljenega in obleko. V tem času se pojavijo tudi prijateljski, družinski in konjeniški portret. V rokokoju baročno uradno togost nadomestijo igrivost, veselje, ljubezen, večna mladost in lepota ter dvorna eleganca, ki se še bolj izrazijo v naravi. Ponovno oživijo skoraj pozabljeno slikarsko tehniko »pastel«, ki se z rokokojsko motiviko čudovito staplja v celoto. V romantiki preide lahkotnost rokokojskih umetnin na mračnejše tematike, k duhovnemu in neskončnosti, kar slikarji poudarijo z izborom barv ter romantičnim razpoloženjem. V začetku 19. stoletja v portretnem slikarstvu v ospredje stopi konkretna umetnost z željo po prikazovanju realnosti takratnega časa. Z izumom fotografije v 19. stoletju pa v slikarstvu nastopi krajša kriza, vendar si s pojavom impresionizma kmalu opomore. V obdobju impresionizma poizkušajo umetniki upodobiti trenutnek giba, izraza na obrazu ali igro svetlobe in sence, hkrati pa želijo upodobiti tudi psihološko plat portretiranca. Spremeni se tudi način slikanja. Slikarji se namesto nežnih prehodov med barvami poslužujejo kratkih pretrganih potez, pik oziroma točk (pointilizem), ter manjših barvnih ploskev, ki jih polagajo eno zraven druge in tako gradijo prostor in ustvarjajo volumen. Stil slikarjev postaja vedno bolj individualiziran in posledično hitro prepoznaven. Podobno je bilo tudi v obdobju ekspresionizma 20. stoletja, ki je zavračal vsakršne idealistične in naturalistične estetske norme v slikarstvu na sploh. Slikarji portretisti so se raje posvečali raziskovanju portretirančeve notranjosti, psihe, duše. Za to obdobje so značilne figuralne distorzije (tako notranje, kot zunanje), pretirano poudarjeni in disproporcionalni deli telesa, groba stilizacija in abstrahiranje oblik, močni barvni kontrasti in neupoštevanje prostorskih ključev. V umetnost slikarstva vpeljejo nove inovativne pristope in materiale. Meje med abstraktnim in figuralnim se začnejo zabrisovati. V obdobju postmodernizma se je v slikarstvu ponovno pojavila tendenca po večji komunikativnosti ter dostopnosti širši javnosti. V umetnosti so se skozi zgodovino vedno znova pojavljali novi mediji. S pojavom fotografije v 19. stoletju se je iz umetnosti slikarstva najprej umaknila realistična reprezentacija podobe, saj je to funkcijo prevzela fotografija, ki je služila kot dokument (podobno vlogo je imela renesančna slika). Šele, ko je fotografija prenehala biti zgolj dokumentacija nekega dogodka, je postala enakovredna tradicionalnim umetniškim zvrstem. Podobno se je dogajalo z videom in internetom, s katerim umetnik manipulira, ustvarja nove prostore, reproducira osebe, ki v realnosti ne obstajajo in podobno. S pomočjo novih medijev pa so ustvarjali tudi Zora Stančič, Petra Varl in Luc Tuymans. O delu in ustvarjanju slednjih sem pisala v zadnjem poglavju, ki pa vključuje tudi velikega slovenskega sodobnega slikarja Gabrijela Stupico. Pojem sodobnega slikanega portreta sem vključila tudi v pedagoški del, ki sem ga v praksi izvedla v prvem letniku gimnazije. Za motiv sem izbrala portret, prevladujoča tehnika pa je kolaž.
Povzetek (ePrints, sekundarni jezik):	Throughout the years the purpose of the portrait, along with it’s story, has changed considerably. Portrayal is thus not only an imitation of reality, but a sort of pictorial narrative that reveals the soul of the person being portrayed, his or hers historical and social background, values, interests etc. During the Renaissance all forms of art experienced a rejuvenation. This was the first major period in European history of portrait painting; it introduced numerous innovations in painting, such as oil colours, three quarter view portraits, various compositional concepts and different types of portraits (individual-, paired-, group portrait). During the baroque period of European portrait painting, art subscribers (mostly people living in cities, the “bourgeois”) developed new tendencies. Because they strived to look like members of nobility, portrait paintings featured fancy dresses, stage requisites and scenic backgrounds, yet none of those were allowed to overshadow the face of the subject or his clothing. Friendly, family and equestrian portraits also emerged during this time. In Rococo the baroque rigidness was replaced by playfulness, joy, love, eternal youth and court elegance, which were highlighted by natural settings. Painters resurrected the nearly forgotten “pastel” technique, which blends perfectly with rococo motifs. The period of romanticism moved on from the rococo playfulness and ventured into darker territories; namely with the motifs of spirituality and endlessness, which the painters emphasized with colour selection and romantic inclinations. At the beginning of 19th century the concrete art and its aspiration towards the representation of reality as it is took centre stage in portrait painting. With the invention of photography there was a short period of crisis in painting, but the arrival of Impressionism soon brought it back on its feet. Impressionist painters attempted to capture the movements, face expressions or the play of light and shadow. At the same time they also tried to capture the psychological state of the subject. The style of painting has also changed. Instead of gentle transitions between colours, the painters adopted short and abrupt brush strokes, dots (pointillism) and smaller colour surfaces which they laid down next to each other to create the sense of space and volume. The style of painters became ever more individualized and quickly recognizable. The same can be said about 20th century Expressionism, which refrained from any kind of idealistic and naturalistic aesthetic norms in painting. Portrait painters started to explore the subject’s feelings, psyche, soul. Typical traits of this period are figural distortions (both on the outside and inside of the subject), overly emphasized and disproportional body parts, rough stylization and abstract shapes, powerful colour contrasts and complete disregard of spatial rules. Expressionist painters introduced new and innovative approaches and materials. The lines between abstract and figural began to blur. In Postmodernism painting again developed tendencies towards greater communication value and accessibility to the public. Art has always produced new mediums in the course of history. With the invention of photography in 19th century, realistic representations had no place in painting anymore – that function was assumed by photography, which served as a document (similarly to the renaissance paintings). Only when photography ceased to be merely a document of random events or faces, it became equivalent to traditional art forms. Similar process happened with video and internet, which the artists manipulate, create new spaces, reproduce subjects that don’t exist in reality and so on. Artists who work with these new media are – among others – Zora Stančič, Petra Varl and Luc Tuymans. These artists and their work are included in the last chapter, where I also write extensively about the great Slovenian modernistic painter, Gabrijel Stupica. The concept of modern portrait painting is also included in the pedagogical part, which was conducted in the first year class at a secondary school. The theme I chose was a portrait in collage technique.
Ključne besede (ePrints, sekundarni jezik):	painted portrait
ID:	8310962