Hidden meaning in art

Zofia Władyka-Łuczak

doi:10.18778/1505-9057.58.16

Authors

Zofia Władyka-Łuczak Ph.D., University of Lodz, Faculty of Philology, Chair of Journalism and Social Communication https://orcid.org/0000-0001-9644-4682

DOI:

https://doi.org/10.18778/1505-9057.58.16

Keywords:

art, sculpture, visual communication, interpreting works of art

Abstract

The author discusses the notion of the interpretation of a work of art. Starting with the assumption that the expression “Art’s hidden meaning” should be understood as a search for narrative plots that can be detected between the perceived spatial-figurative motifs and the formal notions in works of art, she analyses two sculptures by Zbigniew Władyka, both entitled Matka Ziemia [Mother Earth]. In her interpretation she emphasises the fact that, on the one hand, the meaning layer, i.e. the presentation of the woman as a future mother, and, on the other, the material necessary for creating it, their combination and the composition applied in this context, and the applied means of expression, as well as the method of sculpting chosen by the artist.

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Author Biography

Zofia Władyka-Łuczak, Ph.D., University of Lodz, Faculty of Philology, Chair of Journalism and Social Communication

Zofia Władyka-Łuczak – Ph.D., sculptor, Department of Communication Theory and Practice, University of Lodz, and the Academy of Fine Arts in Łódź. She specialises in two areas. The first area is associated with sculpture; she is the creator of two monuments: a monument devoted to Rafał Bratoszewski, the founder of Aleksandrów Łódzki, and a monument devoted to Rajmund Rembieliński, a founder of Łódź. Her other major projects include: the “Swan” fountain in Sienkiewicz Park in Łódź, the fountain in Władysław Reymont Park, the Portrait of the Synagogue, in Łódź at Kościuszki Ave. The others are associated with documenting and studying the course of creative works discussed from the anthropological-autoethnographical perspective. She also studies the role of visual structures in perception processes, and the formal devices employed by creators in the context of viewing and perceiving visual communications. She has discussed these issues in 11 articles and two monographs: Praca twórcy w relacji ze światem (2018), and Przestrzeń tworzenia (2018).

References

Kandynski Wasyl, Punkt i linia a płaszczyzna. Przyczynek do analizy elementów malarskich, Państwowy Instytut Wydawniczy, Warsaw 1986.

Strzemiński Władysław, Teoria widzenia, Muzeum Sztuki, Łódź 2016.

Strzemiński Władysław, Sztabiński Grzegorz, Wybór pism estetycznych, Universitas, Krakow 2006.

Witkiewicz Stanisław I., Nowe formy w malarstwie. Szkice estetyczne. Teatr, Państwowe Wydawnictwo Naukowe, Warsaw 1974.

Władyka-Łuczak Zofia, “Rzeźby w łódzkiej przestrzeni miejskiej”, [in:] Badanie i projektowanie komunikacji 4, eds. A. Siemes, M. Grech, Wydawnictwo Libron, Wrocław 2015, pp. 205–220.

Władyka Zofia, Koszaliński Henryk, Burchert-Perlińska Beata, Koszalińska Małgorzata, Brama sztuki Zbigniewa Władyki = Gate of art Zbigniew Władyka’s, Bilbo, Łódź 2000.