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Ženska V Kiparstvu UNIVERZA V LJUBLJANI PEDAGOŠKA FAKULTETA MARINA VRBAVAC ŽENSKA V KIPARSTVU DIPLOMSKO DELO LJUBLJANA, 2015 UNIVERZA V LJUBLJANI PEDAGOŠKA FAKULTETA LIKOVNA PEDAGOGIKA MARINA VRBAVAC Mentor: red. prof. mag. Roman Makše Somentorica: asist. dr. Uršula Podobnik ŽENSKA V KIPARSTVU DIPLOMSKO DELO LJUBLJANA, 2015 Zahvaljujem se mentorju za pomoč in podporo red. prof. mag. Romanu Makšetu, ki me je seznanil s širokim poljem kiparstva. Zahvaljujem se tudi somentorici asist. dr. Uršuli Podobnik za prijaznost in usmerjanje pri pedagoškem delu. POVZETEK Diplomska naloga obravnava področje kiparstva kot področje umetniškega ustvarjanja. Osredotočena je predvsem na ženski aspekt kiparstva skozi čas in prostor, kako so to področje umetniškega ustvarjanja zaznamovale predstavnice nežnejšega spola in kakšno vlogo nosijo kot muze. Čeprav se v pregledih umetnostne zgodovine včasih zdi, kot da se ženske nikoli niso veliko ukvarjale s tem umetniškim področjem, v praksi ni tako. Predstavila bom nekaj vidnejših in vplivnih predstavnic, ki so s svojim zgledom ustvarile pot današnjim umetnicam na tem področju ustvarjanja. V pedagoškem delu sem načrtovala in izvedla učno uro, pri kateri so se učenci spoznali z motivom ženske v kiparstvu. Ključne besede: kiparstvo, umetnost, feminizem, navdih, razvoj I ABSTRACT The Diploma work concerns itself with the area of sculpting as an area of artistic creation. Primarily it is concentrated on the female aspect of sculpting through time and space. How the representatives of the feminine have marked this area of artistic creation, and what is the role of the muses. Although it sometimes seems that women have never been much active in this area, as show the reviews of art history, in actuality it is not so. I will present a few more memorable and influential representatives, who have paved the way to today's female artists in this area of creativity. In pedagogic work I have planned and accomplished a teaching class, where the pupils learned about the motif of the feminine in sculpting. Key words: sculpting, art, feminism,inspiration, development II KAZALO UVOD .................................................................................................................................. 1 1 KIPARSTVO ................................................................................................................ 2 2 FEMINIZEM V UMETNOSTI .................................................................................... 3 2.1 Feminizem v Sloveniji ............................................................................................ 5 2.2 Predstavnice v kiparstvu ....................................................................................... 6 3 ŽENSKA KOT NAVDIH .......................................................................................... 12 3.1 Zgodovina ............................................................................................................ 12 3.2 Henri Matisse in Edgar Degas ............................................................................ 13 3.3 Gian Lorenzo Bernini .......................................................................................... 16 3.4 Constantin Brancusi ............................................................................................ 17 4 SLOVENSKE KIPARKE........................................................................................... 17 4.1 Danica Pajnič ...................................................................................................... 18 4.2 Dragica Čadež ..................................................................................................... 18 4.3 Marjetica Potrč ................................................................................................... 20 4.4 Mojca Smerdu ..................................................................................................... 21 4.5 Rene Rusjan ......................................................................................................... 22 5 AVTORSKO DELO ................................................................................................... 23 6 PEDAGOŠKI DEL ..................................................................................................... 26 6.1 Učna priprava ..................................................................................................... 27 6.2 Analiza izdelkov učencev ..................................................................................... 33 7 SKLEP ........................................................................................................................ 36 8 VIRI IN LITERATURA ............................................................................................. 37 III IV Marina Vrbavac: Ženska v kiparstvu, 2015 UVOD »Likovna umetnost je človeški govor posebne vrste, ki ne uporablja zvokov in besed, temveč vidne in tipne oblike, ki so povezane v sestave - kompozicije in celote. Zgodovinsko gledano je likovno izražanje človekov prvobitni jezik, ki je izšel in nastal iz njegovih posebnih potreb in možnosti.« (Čadež, 2000, str. 10) V diplomski nalogi bom na kratko opredelila pojem kiparstva in kako se je le-to razvijalo skozi stoletja. Predstavila bom različne kiparske materiale, skozi katere se izražajo umetniki in njihov pomen. V diplomo bom vključila tudi avtorsko delo, ki je manifestacija raziskovanja na področju ženskega vpliva v kiparski umetnosti. Svoja raziskovanja bom aplicirala na pedagoško uro. Umetnice, ki se ukvarjajo s feministično umetnostjo, nimajo enotnega pristopa k ustvarjanju. Prisotnih je več različnih pozicij in prijemov umetnic, ki so vključene v produkcijo in teorijo umetnosti. To bi lahko pomenilo nevarnost, da se dela avtoric feministk avtomatično določijo za feministična. Feministična umetnost pa se sama jasno in namenoma predstavi kot taka, je angažirana umetnost, kar pomeni, da obstajajo le feministke in feministična dela, ne pa tudi feministične avtorice. Ženska kot umetnica ima vso pravico do svobodnega ustvarjanja (Grobler, 2014). Vpliv žensk na kiparstvo v umetnosti se mi zdi kar pomemben, saj so v umetniški prostor vnesle drugačen pristop tudi zaradi svojega biološkega ozadja. Ženska poleg vloge matere in hčere nosi posebno vlogo v družbi. Predstavlja nežnost in materinstvo. Pri uporabi materialov bi zato lahko predvidevali, da bodo ženske manj drzne in tehnološko šibkejše. Vendar sem skozi spoznavanje zgodb ženskih kipark opazila, da so prav tako sposobne v klesanju, modeliranju kot moški. Umetnice, ki jih predstavljam se ne bojijo izzivov in s svojo originalnostjo so zaznamovale kiparski svet. Tako lahko sklepamo, da je umetnost resnično brezspolna. Zanimiva je relacija ženskega pogleda na umetniško sfero, ki se v svojem dojemanju vseskozi spreminja, in lušči nepotrebno dualnost moškega in ženskega aspekta kot superiornega drug drugemu. Navsezadnje sta oba pola prisotna v človeški zgodovini in oba vplivala na razvoj umetnosti in navsezadnje tudi kiparstva samega. Kot 1 Marina Vrbavac: Ženska v kiparstvu, 2015 entuziastična raziskovalka se bom podala na pot feminističnega dojemanja umetnosti in skušala povezati oba pola v razvijajoči se zaključek. 1 KIPARSTVO Ljudje so v vseh obdobjih človeštva hrepeneli po izražanju svojega notranjega sveta v tridimenzionalni obliki. Skulptura je bila osrednji verski predmet v mnogih kulturah in v zadnjih stoletjih manifestacija vere ali politike. Te kulture, katerih kipi so preživeli, vključujejo kulture starega Sredozemlja, Indiji in na Kitajskem, Južni Ameriki in Afriki. »Ljudje vedno hrepenijo po lepoti, lepoto najdejo v naravi in njenih stvaritvah.« (Čadež, 2000, str. 15) Tudi kiparsko izražanje je prvobitni, že v prazgodovini nastali način človekovega izražanja, ki je pomemben za sporazumevanje z drugimi ljudmi. Vpliva tudi na otroke, da zajamejo in izrazijo svoja čutna spoznanja vidnega in tipnega sveta in svoje čustvene izkušnje z njim. Med kiparskim oblikovanjem pa deluje človek po zakonitostih, ki jih lahko spozna s primernim likovnim izobraževanjem (Čadež, 2000). Umetniški predmet je bil včasih nosilec aristokratskih vrednot in se ni proizvajal množično kot danes. Predvsem je bila umetnina izdelana zaradi sebe same in ne zaradi denarja. Toda kasneje se njihov značaj spremeni, predvsem v 2. polovici 18. stoletja se od umetnosti nič več ne pričakuje da bo poveličevala življenje ljudi. Postane kultura, proizvod dela ter izraz individualnega dela (Matticks, 2013). Ženska je simbol lepote in hkrati spolne podreditve. Marx govori o goloti kot metafori za razodetje dotlej skrite in neprijetne resnice, kljub temu pa se je prostitucija od začetka 19. stoletja neprenehoma pojavljala kot nasprotje ljubezni z umetniško preobrazbo. Vlačuga je skorajda popoln simbol kapitalistične kulture. Uteleša dejstvo, da tudi najbolj temeljna človeška razmerja obvladuje denarna menjava, prostitutka pa predstavlja umetnost kot lepo stvar, ki je na prodaj estetskemu uporabniku. Po Rosseauju sta moški in ženski spol v okviru družbe zelo različna, moški spol je dejaven ženska pa je pasivna. Po njegovem prepričanju je ženska ustvarjena, da ugaja, zasluga moškega pa je v njegovi moči. Preobrazba razmerij med spoloma se ni zgodila brez odpora žensk v 17. stoletju. Sprva so ženske oštevale duhovnike in župnike ter igrale glavno vlogo v nemirih zaradi 2 Marina Vrbavac: Ženska v kiparstvu, 2015 pomanjkanja žita itd. (Matticks, 2013). Zahodna tradicija kiparstva se je začela v antični Grčiji. V srednjem veku so se uveljavili gotski kipi, ki so predstavljali
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