FEMALE NUDE BETWEEN DRAWING AND PAINTING

Diplomsko delo "Motiv ženskega akta med risbo in sliko" se ukvarja s polemiko prepletanja linije in barve znotraj ženskega akta, nosilca psiholoških vsebin. Združitev moči osnovnih likovnih postavk rezultira v samosvojih in včasih inovativnih posegih znotraj slik ženskega telesa in prav zato gre za tematiko, ki je za umetnike vedno privlačna. Delo je razdeljeno na teoretični in praktični del. Začetek zajema opredelitev risbe v koloristično zasnovani sliki in koloristične risbe, ki teži k prevzemu aktivne vloge na račun barvnih ploskev. Nadaljevanje se osredotoča na dilemo dveh nasprotujočih si skupin, ki sta se razhajali glede tega, katera prvina je primarno pomembnejša v ustvarjanju človeške forme v sliki. Koncept sobivanja primarnih likovnih prvin podpira opredelitev ploskovitega, plastičnega in slikovitega načina tvorjenja telesnine. Sledi primerjava klasičnih aktov in izkrivljenih ženskih podob, ki so se pojavile v modernizmu. Zaključek teoretičnega dela vsebuje razpravo o goli ženski postavi kot čutno izpovednem orodju, ki je v markirano v deformacijah ter predstavitev Henrija Matissa, Egona Schieleja in Jenny Saville. V praktičnem delu so predstavljene in vrednotene lastne slike.Thesis titled "Female nude between drawing and painting" dedicates itself to issues of intertwining line and color within female nude as the medium of psychological content. Combine power of basic art elements accumulates in authentically innovating interventions in paintings of female nude and that\u27s the reason for its appeal to artists. The work consists out of theoretical and practical part. The beginning includes a definition of drawing as an additive to color based painting and colorful drawing - striving for active role on dispense of color plane. Furthermore, the focus is on contradictory views of two artistic groups divided on, which element is initially more important in creating human form in painting. Coexisting concept of line and color is supported by description of flat, plastic and picturesque ways to construct a body. Next is the comparison between classical and distorted female image, originated in modernism. Conclusion contains a discussion about female frame as an emotionally lyrical instrument marked in deformation and an introduction of Henri Matisse, Egon Schiele and Jenny Saville. Last but not least, the practical part includes representation and evaluation of my own artistic works