1. Impresjonizm - wyjaśnij pochodzenie nazwy
2. Podaj 5 cech charakterystycznych dla impresjonizmu
3. Zdefiniuj post-impresjonizm
4. Pointylizm - wyjaśnijj pojęcie
5. Podaj nazwiska 2 przedstawicieli impresjonizmu.
6. Podaj nazwiska 2 przedstawicieli postimpresjonizmu.
7. Opisz obraz 5-10 zdań
8. Namaluj obrazy w stylu impresjonistycznym i z zastosowaniem techniki pointylizmu. Oba obrazy powinny nosić tytuł "Słońce". Napisz krótkie notatki - w jaki sposób uzyskałeś efekt malarstwa impresjonistycznego i pointylistycznego. Jakich narzędzi użyłeś, jakich materiałów, jakie techniki. Czy uważasz, że osiągnąłeś zamierzony cel? (NIE/TAK - DLACZEGO)
vIsUaL aRts IV myp
poniedziałek, 24 marca 2014
Obraz do opisania
Claude Monet
Lady with a Parasol, 1886, , Louvre, Paris
Oil on canvas
/autor, tytuł, data powstania, miejsce gdzie się znajduje aktualnie, technika, styl, tematyka, kompozycja, światło, kolorystyka, refleksje własne/ 5-10 zdań. /
Impressionism
"Impressionism is only direct sensation. All great
painters were less or more impressionists. It is mainly a question of
instinct."
Impressionism can be considered the first distinctly modern movement in
painting. Developing in Paris in the 1860s, its influence spread
throughout Europe and eventually the United States. Its originators were
artists who rejected the official, government-sanctioned exhibitions,
or salons,
and were consequently shunned by powerful academic art institutions. In
turning away from the fine finish and detail to which most artists of
their day aspired, the Impressionists aimed to capture the momentary,
sensory effect of a scene - the impression objects made on the
eye in a fleeting instant. To achieve this effect, many Impressionist
artists moved from the studio to the streets and countryside, painting en plein air.Impressionism was a style of representational art that did not
necessarily rely on realistic depictions. Scientific thought at the time
was beginning to recognize that what the eye perceived and what the
brain understood were two different things. The Impressionists sought to
capture the former - the optical effects of light - to convey the
passage of time, changes in weather, and other shifts in the atmosphere
in their canvases.
The Impressionists loosened their brushwork and lightened their
palettes to include pure, intense colors. They abandoned traditional
linear perspective and avoided the clarity of form that had previously
served to distinguish the more important elements of a picture from the
lesser ones. For this reason, many critics faulted Impressionist
paintings for their unfinished appearance and seemingly amateurish
quality.
Impressionism records the effects of the massive
mid-nineteenth-century renovation of Paris led by civic planner
Georges-Eugène Haussmann, which included the city's newly constructed
railway stations; wide, tree-lined boulevards that replaced the formerly
narrow, crowded streets; and large, deluxe apartment buildings. Often
focusing on scenes of public leisure - especially scenes of cafes and
cabarets - the Impressionists conveyed the new sense of alienation
experienced by the inhabitants of the first modern metropolis.
Édouard Manet was the most important and influential artist to have heeded poet Charles Baudelaire's
call to artists to become painters of modern life. Manet had an
upper-class upbringing, but also led a bohemian life, and was driven to
scandalize the French Salon
public with his disregard for academic conventions and his strikingly
modern images of urban life. He has long been associated with the Impressionists;
he was certainly an important influence on them and he learned much
from them himself. However, in recent years critics have acknowledged
that he also learned from the Realism and Naturalism
of his French contemporaries, and even from seventeenth century Spanish
painting. This twin interest in Old Masters and contemporary Realism
gave him the crucial foundation for his revolutionary approach.
Manet's modernity lies above all in his eagerness to update older
genres of painting by injecting new content or by altering the
conventional elements. He did so with an acute sensitivity to historical
tradition and contemporary reality. This was also undoubtedly the root
cause of many of the scandals he provoked.
He is credited with popularizing the technique of alla prima
painting. Rather than build up colors in layers, Manet would immediately
lay down the hue that most closely matched the final effect he sought.
The approach came to be used widely by the Impressionists, who found it
perfectly suited to the pressures of capturing effects of light and
atmosphere whilst painting outdoors.
His loose handling of paint, and his schematic rendering of volumes,
led to areas of "flatness" in his pictures. In the artist's day, this
flatness may have suggested popular posters or the artifice of painting -
as opposed to its realism. Today, critics see this quality as the first
example of "flatness" in modern art.
Olympia, 1863, , Musee d'Orsay
Oil on canvas
A Bar at the Folies-Bergere, 1881-82, , The Courtauld Institute Galleries, London
Oil on canvas
Claude Monet was among the leaders of the French Impressionist movement of the 1870s and 1880s. His 1873 painting Impression, Sunrise
gave the style its name, and as an inspirational talent and a
personality, he was crucial in bringing its adherents together. Inspired
in the 1860s by the Realists'
interest in painting in the open air, Monet would later bring the
technique to one of its most famous pinnacles with his so-called series
paintings, in which his observations of the same subject, viewed at
various times of the day, were captured in numerous sequences of
paintings. Masterful as a colorist and as a painter of light and
atmosphere, his later work often achieved a remarkable degree of
abstraction, and this has recommended him to subsequent generations of
abstract painters.
Monet's early work is indebted to the Realists' interests in depicting
contemporary subject matter, without idealization, and in painting
outdoors in order to capture the fleeting qualities of nature.
Inspired in part by Edouard Manet,
Monet gradually began to develop a distinctive style of his own in the
late 1860s. He departed from the clear depiction of forms and linear
perspective, which were prescribed by the established art of the time,
and he experimented with loose handling, bold color, and strikingly
unconventional compositions. The emphasis in his pictures shifted from
figures to the qualities of light and the atmosphere in the scene, and,
as he matured, he became ever more attentive to light and color.
In his later years, Monet also became increasingly sensitive to the
decorative qualities of color and form. He began to apply paint in
smaller strokes, building it up in broad fields of color, and, in the
1880s, he began to explore the possibilities of a decorative paint
surface and harmonies and contrasts of color. The effects that he
achieved, particularly in the series paintings of the 1890s, represent a
remarkable advance towards abstraction and towards a modern painting
focused purely on surface effects.
An inspiration and a leader among the Impressionists, he was crucial in attracting Pierre-Auguste Renoir, Alfred Sisley, Edouard Manet and Camille Pissarro
to work alongside each other in the Parisian suburb of Argenteuil in
the 1870s. He was also important in establishing the exhibition society
that would showcase the group's work between 1874 and 1886.
Lady with a Parasol, 1886, , Louvre, Paris
Oil on canvas
Water Lilies, 1916, , The National Museum of Western Art, Tokyo
Oil on canvas
http://www.theartstory.org/artist-monet-claude.htm
Post-Impressionism
Post-Impressionism
Post-Impressionism encompasses a wide range of distinct artistic styles
that all share the common motivation of responding to the opticality of
the Impressionist
movement. The stylistic variations assembled under the general banner
of Post-Impressionism range from the scientifically oriented Neo-Impressionism of Georges Seurat to the lush Symbolism of Paul Gauguin,
but all concentrated on the subjective vision of the artist. The
movement ushered in an era during which painting transcended its
traditional role as a window onto the world and instead became a window
into the artist's mind and soul. The far-reaching aesthetic impact of
the Post-Impressionists influenced groups that arose during the turn of
the twentieth century, like the Expressionists, as well as more contemporary movements, like the identity-related Feminist Art.
Symbolic and highly personal meanings were particularly important to Post-Impressionists such as Paul Gauguin and Vincent van Gogh.
Rejecting interest in depicting the observed world, they instead looked
to their memories and emotions in order to connect with the viewer on a
deeper level.
Structure, order, and the optical effects of color dominated the aesthetic vision of Post-Impressionists like Paul Cézanne, Georges Seurat, and Paul Signac.
Rather than merely represent their surroundings, they relied upon the
interrelations of color and shape to describe the world around them.
Despite the various individualized
styles, most Post-Impressionists focused on abstract form and pattern in
the application of paint to the surface of the canvas. Their early
leanings toward abstraction paved the way for the radical modernist
exploration of abstraction that took place in the early twentieth
century.
Critics grouped the various styles
within Post-Impressionism into two general, opposing stylistic trends -
on one side was the structured, or geometric style that was the
precursor to Cubism, while on the other side was the expressive, or non-geometric art that led to Abstract Expressionism.
http://www.theartstory.org/movement-post-impressionism.htm
Paul Cézanne
Paul Cézanne was the preeminent French artist of the Post-Impressionist
era, widely appreciated toward the end of his life for insisting that
painting stay in touch with its material, if not virtually sculptural
origins. Also known as the "Master of Aix" after his ancestral home in
the South of France, Cézanne is credited with paving the way for the
emergence of modern art, both visually and conceptually. In retrospect,
his work constitutes the most powerful and essential link between the
ephemeral aspects of Impressionism and the more materialist, early twentieth century artistic movements of Fauvism, Cubism, Expressionism, and even complete abstraction.
Table, Napkin, and Fruit (A Corner of the Table), 1895-1900, , The Barnes Foundation, Pennsylvania
Oil on canvas, 47 x 56 cm (18 1/4 x 22 in)
Cézanne ultimately came to regard color, line, and "form" as
constituting one and the same thing, or inseparable aspects for
describing how the human eye actually experiences Nature.
Unsatisfied with the Impressionist dictum that painting is primarily a
reflection of visual perception, Cézanne sought to make of his artistic
practice a new kind of analytical discipline. In his hands, the canvas
itself takes on the role of a screen where an artist's visual sensations
are registered as he gazes intensely, and often repeatedly, at a given
subject.
Cézanne applied his pigments to the canvas in a series of discrete,
methodical brushstrokes, indeed as though he were "constructing" a
picture rather than "painting" it, thus remaining true to an underlying
architectural ideal: every portion of the canvas should contribute to
its overall structural integrity.
In Cézanne's mature pictures, even a simple apple might display a
distinctly sculptural dimension. It is as if each item of still life,
landscape, or portrait had been examined not from one but several or
more angles, its material properties then recombined by the artist as no
mere copy, but as what Cézanne called "a harmony parallel to nature."
It was this aspect of Cézanne's analytical, time-based practice that led
the future Cubists to regard him their true mentor.
Louis-Auguste Cézanne, the Artist's father, Reading "L'Evenement", 1866, , The National Gallery of Art, Washington, D.C.
Oil on canvas
Oil on canvas
Oil on canvas, 47 x 56 cm (18 1/4 x 22 in)
http://www.theartstory.org/artist-cezanne-paul.htm
Vincent Van Gogh
"Instead of trying to reproduce exactly what I see
before me, I make more arbitrary use of color to express myself more
forcefully."
The iconic tortured artist, Vincent Van Gogh strove to convey his
emotional and spiritual state in each of his artworks. Although he sold
only one painting during his lifetime, Van Gogh is now one of the most
popular artists of all time. His canvases with densely laden, visible
brushstrokes rendered in a bright, opulent palette emphasize Van Gogh's
personal expression brought to life in paint. Each painting provides a
direct sense of how the artist viewed each scene, interpreted through
his eyes, mind, and heart. This radically idiosyncratic, emotionally
evocative style has continued to affect artists and movements throughout
the twentieth century and up to the present day, guaranteeing Van
Gogh's importance far into the future.
Van Gogh's dedication to articulating the inner spirituality of man and
nature led to a fusion of style and content that resulted in dramatic,
imaginative, rhythmic, and emotional canvases that convey far more than
the mere appearance of the subject.
Although the source of much upset during his life, Van Gogh's mental
instability provided the frenzied source for the emotional renderings of
his surroundings and imbued each image with a deeper psychological
reflection and resonance.
Van Gogh's unstable personal temperament became synonymous with the
romantic image of the tortured artist. His self-destructive talent that
was echoed in the lives of many artists in the twentieth century.
Van Gogh used an impulsive, gestural application of paint and symbolic
colors to express subjective emotions. These methods and practice came
to define many subsequent modern movements from Fauvism to Abstract Expressionism.
Self-Portrait with Bandaged Ear, 1889, Vincent van Gogh, Courtauld Institute Galleries, London
Oil on canvas
Self-Portrait with Bandaged Ear, 1889, Vincent van Gogh, Courtauld Institute Galleries, London
Oil on canvas
The Bedroom, 1889, Vincent van Gogh, Van Gogh Museum, Amsterdam
Oil on canvas
Oil on canvas
http://www.theartstory.org/artist-van-gogh-vincent.htm
"I am trying to put into these desolate figures the
savagery that I see in them and which is in me too... Dammit, I want to
consult nature as well but I don't want to leave out what I see there
and what comes into my mind."
Paul Gauguin is one of the most significant French artists to be initially schooled in Impressionism, but who broke away from its fascination with the everyday world to pioneer a new style of painting broadly referred to as Symbolism.
As the Impressionist movement was culminating in the late 1880s,
Gauguin experimented with new color theories and semi-decorative
approaches to painting. He famously worked one summer in an intensely
colorful style alongside Vincent Van Gogh
in the south of France, before turning his back entirely on Western
society. He had already abandoned a former life as a stockbroker by the
time he began traveling regularly to the south Pacific in the early
1890s, where he developed a new style that married everyday observation
with mystical symbolism, a style strongly influenced by the popular,
so-called "primitive"
arts of Africa, Asia, and French Polynesia. Gauguin's rejection of his
European family, society, and the Paris art world for a life apart, in
the land of the "Other," has come to serve as a romantic example of the
artist-as-wandering-mystic.
After mastering Impressionist methods for depicting the optical
experience of nature, Gauguin studied religious communities in rural
Brittany and various landscapes in the Caribbean, while also educating
himself in the latest French ideas on the subject of painting and color
theory (the latter much influenced by recent scientific study into the
various, unstable processes of visual perception). This background
contributed to Gauguin's gradual development of a new kind of
"synthetic" painting, one that functions as a symbolic, rather than a
merely documentary, or mirror-like, reflection of reality.
Seeking the kind of direct relationship to the natural world that he
witnessed in various communities of French Polynesia and other
non-western cultures, Gauguin treated his painting as a philosophical
meditation on the ultimate meaning of human existence, as well as the
possibility of religious fulfillment and answers on how to live closer
to nature.
Gauguin was one of the key participants during the last decades of the
19th century in a European cultural movement that has since come to be
referred to as Primitivism.
The term denotes the Western fascination for less
industrially-developed cultures, and the romantic notion that
non-Western people might be more genuinely spiritual, or closer in touch
with elemental forces of the cosmos, than their comparatively
"artificial" European and American counterparts.
Once he had virtually abandoned his wife, his four children, and the
entire art world of Europe, Gauguin's name and work became synonymous,
as they remain to this day, with the idea of ultimate artistic freedom,
or the complete liberation of the creative individual from one's
original cultural moorings.
Two Tahitian Women, 1899, , Metropolitan Museum of Art, New York,
NY
Oil on canvas
Oil on canvas
Manao Tupapau (The Spirit of the Dead Keeps
Watch), 1892, , The Albright-Knox Art Gallery, Buffalo,
NY
Oil on canvas
Oil on canvas
http://www.theartstory.org/artist-gauguin-paul.htm
Georges Seurat
Georges Seurat is chiefly remembered as the pioneer of the Neo-Impressionist technique commonly known as Divisionism, or Pointillism,
an approach associated with a softly flickering surface of small dots
or strokes of color. His innovations derived from new quasi-scientific
theories about color and expression, yet the graceful beauty of his work
is explained by the influence of very different sources. Initially, he
believed that great modern art would show contemporary life in ways
similar to classical art, except that it would use technologically
informed techniques. Later he grew more interested in Gothic art and
popular posters, and the influence of these on his work make it some of
the first modern art to make use of such unconventional sources for
expression. His success quickly propelled him to the forefront of the
Parisian avant-garde. His triumph was short-lived, as after barely a
decade of mature work he died at the age of only 31. But his innovations
would be highly influential, shaping the work of artists as diverse as Vincent Van Gogh and the Italian Futurists, while pictures like Sunday Afternoon on the Island of La Grand Jatte (1884) have since become widely popular icons.
Seurat was inspired by a desire to abandon Impressionism's
preoccupation with the fleeting moment, and instead to render what he
regarded as the essential and unchanging in life. Nevertheless, he
borrowed many of his approaches from Impressionism, from his love of
modern subject matter and scenes of urban leisure, to his desire to
avoid depicting only the 'local', or apparent, color of depicted
objects, and instead to try to capture all the colors that interacted to
produce their appearance.
Seurat was fascinated by a range of scientific ideas about color, form
and expression. He believed that lines tending in certain directions,
and colors of a particular warmth or coolness, could have particular
expressive effects. He also pursued the discovery that contrasting or
complementary colors can optically mix to yield far more vivid tones
that can be achieved by mixing paint alone. He called the technique he
developed 'chromo-luminism', though it is better known as Divisionism (after the method of separating local color into separate dots), or Pointillism (after the tiny strokes of paint that were crucial to achieve the flickering effects of his surfaces).
Although radical in his techniques, Seurat's initial instincts were
conservative and classical when it came to style. He saw himself in the
tradition of great Salon
painters, and thought of the figures in his major pictures almost as if
they were figures in monumental classical reliefs, though the subject
matter - the different urban leisure pursuits of the bourgeois and the
working class - was fully modern, and typically Impressionist.
In Seurat's later work he left behind the calm, stately classicism of early pictures like Bathers at Asnières,
and pioneered a more dynamic and stylized approach that was influenced
by sources such as caricatures and popular posters. These brought a
powerful new expressiveness to his work, and, much later, led him to be
acclaimed by the Surrealists as an eccentric and a maverick.
Sunday Afternoon on the Island of La Grand Jatte, 1884-86, , Art Institute of Chicago
Oil on canvas
Oil on canvas
La Seine à la Grande-Jatte, 1888, , Royal Museums of Fine Arts of Belgium, Brussels
Oil on canvas
Oil on canvas
Young Woman Powdering Herself, 1888-1890, , The Courtauld Institute of Art, London
Oil on canvas
Oil on canvas
http://www.theartstory.org/artist-seurat-georges.htm
Pointillism is a mode of art-making, first developed in 1880s France, in which all of the paint is applied to the surface as tiny points or daubs of color. Based on the laws of color theory, pointillism relies on the viewer's eye to mix the disparate dots into the lines, shapes, shadings, and color ranges of the full scene.
wtorek, 4 marca 2014
obraz do analizy
Widok Warszawy od strony Pragi, 1770
(Olej na płótnie)
Bernardo Bellotto (Canaletto)
ur. 30 stycznia 1721 w Wenecji, zm. 17 listopada 1780 w Warszawie
(Olej na płótnie)
Bernardo Bellotto (Canaletto)
ur. 30 stycznia 1721 w Wenecji, zm. 17 listopada 1780 w Warszawie
Analiza obrazu...
Wstępna analiza obrazu
Autor obrazu, tytuł obrazu, czas powstania obrazu
to podstawowe informacje.
Epoka, nurt artystyczny
warto na nie zwrócić uwagę, .
Miejsce w dorobku artystycznym malarza
(wczesna twórczość, dojrzała, późna twórczość)
Wymiary obrazu
(wysokość, szerokość)
Technika malarska
akwarela, al secco, collage, enkaustyka,
fresk, graffiti, gwasz, malarstwo akrylowe, malarstwo, kredkami,
malarstwo na szkle, malarstwo olejne, malarstwo temperowe, polichromia,
sgraffito, witraż
Temat obrazu
akt, malarstwo abstrakcyjne, malarstwo
historyczne (odmiana: batalistyczne), malarstwo marynistyczne, malarstwo
pejzażowe (krajobrazowe) (odmiana: nokturn, weduta), malarstwo
portretowe, malarstwo religijne (odmiana: malarstwo mitologiczne),
malarstwo rodzajowe, martwa natura.
Miejsce, w którym obraz się znajduje (zwykle nazwa muzeum).
Właściwa analiza obrazu
Kompozycja
Zasady kompozycyjne
W malarstwie obowiązują trzy zasady:
zasada równowagi, zasada symetrii, zasada rytmu. Rozważ, którą z nich
stosuje, albo łamie malarz.
Typ kompozycji
Określ po prostu czy w obrazie występuje kompozycja otwarta, czy kompozycja zamknięta.
Ruch
Obraz może być statyczny lub dynamiczny. Rozważ czy została zastosowana w nim kompozycja statyczna, czy kompozycja dynamiczna.
Przestrzeń
Opisz postacie i relacje pomiędzy nimi.
Przedstaw najważniejsze elementy (przedmioty, obiekty) organizujące przestrzeń obrazu.
Określ relacje między detalem (gest, przedmiot, kształt) a tym, co ogólne (wymowa całości dzieła).
Głębia
Opisz pierwszy plan, drugi plan i dalszy plan.
Zanalizuj tło obrazu.
Przedstaw sposób ukazania głębi: układ rzędowy, układ kolisowy, perspektywa linearna, perspektywa powietrzna, perspektywa malarska
Paleta barw
Na wstępie określ czy masz przed sobą obraz, który można zaliczyć do malarstwa monochromatycznego, czy do malarstwa polichromatycznego.
Opisz jak wygląda kolorystyka obrazu, gama użytych barw
(barwy podstawowe, barwy pochodne, barwy czyste, barwy dopełniające,
barwy ciepłe, barwy zimne). Spróbuj określić ich wpływ na temat obrazu.
Światło
Ustal źródło światła w obrazie: (naturalne, sztuczne).
Przedstaw rodzaje świateł: bezpośrednie, odbite, mieszane.
Określ sposób rozprzestrzeniania się światła w obrazie (kierunkowe, rozproszone, kierunkowo rozproszone).
Opisz natężenie światła.
Odnajdź rolę i symbolikę światła.
Interpretacja obrazu
W interpretacji obrazu warto jeszcze uwzględnić:
nastrój, który panuje w obrazie, ale też nastrój, który obraz wywołuje w odbiorcy;
symbolika – czyli umowne znaczenia, przedmiotów, gestów, układów elementów obrazu
ekspresja – w jaki
sposób w obrazie oddaje się emocje, jak bardzo są one ukazywane;Spróbuj
również opisać zachodzące w obrazie relacje pomiędzy poszczególnymi
płaszczyznami analizy obrazu.
http://język-polski.pl/325/1530-mikolaj-sep-szarzynski
http://język-polski.pl/325/1530-mikolaj-sep-szarzynski
wtorek, 18 lutego 2014
Wykonaj
plakat informacyjny dotyczący Twojej prezentacji
Personal Project.
Już
za kilka tygodni odbędzie się Twoja prezentacja Personal Project. Nie ważne co
było Twoim tematem pracy! Ważne jest to, że włożyłeś w to całe swoje serce i
mnóstwo czasu.
Oprócz krótkiej prezentacji, Twoim zadaniem jest zaaranżowanie nietypowego stanowiska, gdzie będziesz miał możliwość wizualnie zaprezentować swój produkt, pomysł, swoją pasję.
Głównym elementem tego stanowiska ma być plakat. To jest Twoje zadanie na Visual Arts! Stworzyć plakat, który przyciągnie widzów, który poinformuje o temacie Twojej pracy i o jej autorze...
Oprócz krótkiej prezentacji, Twoim zadaniem jest zaaranżowanie nietypowego stanowiska, gdzie będziesz miał możliwość wizualnie zaprezentować swój produkt, pomysł, swoją pasję.
Głównym elementem tego stanowiska ma być plakat. To jest Twoje zadanie na Visual Arts! Stworzyć plakat, który przyciągnie widzów, który poinformuje o temacie Twojej pracy i o jej autorze...
INVESTIGATION
- Co jest Twoim zadaniem?
- Opisz AofI z którym łączy się zadanie. Opisz dlaczego
- Co to jest plakat informacyjny?
- Jakie powinien zawierać elementy?
- Jakich elementów nie powinien zawierać?
- Jaka jest rola plakatu?
- Jakie kolory warto używać?
- Jak skomponować pracę?
- Co oznacza „charakter artystyczny”
- Jaki element graficzny najlepiej określi Twój PP? (Twoje zdanie, zdanie kolegów)
- Wykonaj kilka szkiców elementu graficznego (różnych lub jednego w różnych wersjach jeśli jesteś zdecydowany). Zastanów się nad kolorem.
- Jakie liternictwo najlepiej zastosować? Jeśli chcesz zastosować litery drukowane, pamiętaj, aby się przygotować i przynieść wydruki z domu. To samo dotyczy innych elementów graficznych.
- W jakiej technice będziesz pracować, dlaczego?
- Opracuj plan działania. Jakich materiałów będziesz potrzebować, co może się przydać. Pamiętaj że na stworzenie pracy masz 3 godziny lekcyjne. Planuj pracę realnie.
- Wybierz kilka przykładów plakatu z bloga. Opisz je. (Twoja opinia na ich temat nie musi być koniecznie pozytywna)
Subskrybuj:
Posty (Atom)