学生作品指南
版权所有 此作品仍被视为受版权保护。Maria Jeglińska 出生于 1983，且无记载的逝世日期；版权在艺术家逝世后持续 70 年。此处展示图像仅供教学参考；相关权利仍归权利人所有。
语境中
Portable Wall-B — Maria Jeglińska
上行：年份；下行：艺术家在各时间段起始及结束时的年龄（出生为0岁）。
创作于艺术家 36 岁时。 0 在我们目录中该艺术家的 2 件有明确日期的作品中，早于此件的作品。
▲ 此作，2019 每一幅带有日期的画作，按年代编排
从上方作品中任选其一：列出它与此件作品的两个共同点，以及一个不同点。
更多与此作品相媲美的佳作：originaluniqueart.com/zh/art/similar/maria-jeglinska-portable-wall-b-D7F887-en/
图像测量值
主色调
Prussian Blue #035b3d
已收藏色板
十大领先国家
在地图上找出颜色最深的三个国家。收藏这幅画作的博物馆是否位于其中之一？请写下一个让远方的人们想要观赏它的理由。
这些作品共同占据了该艺术家画作在过去十二个月中所获关注度的 100.0%。该目录收录了 2 件该艺术家的作品，其中 1 件曾被至少浏览过一次。 此画作在其中排名第 1，占据了 100.0% 的关注度。 每月统计数据保持一致
条形图衡量的是关注度，而非品质。请选择排在首位的作品以及这一件：列举一件除了绘画技巧之外，可能使一幅画作闻名遐迩的因素。
关于此艺术品
Portable Wall-B — Maria Jeglińska
The ‘Portable wall-B‘ was created as part of the exhibition series Circulation in the Circle, launched by the Contemporary Design Department in 2018. According to the concept, the invited designer will select an object or ensemble of objects from the collection of the Museum of Applied Arts, and will create a new design as inspired by the object(s). The second designer we have invited for the series is Maria Jeglińska from Poland, who has selected an armchair designed by Sándor Mikó from the museum’s collection, which served as one piece of the furnishings of the Te + Én eszpresszó [You + Me espresso bar] that operated on Bem rakpart [embankment] in the 1970s. Inspired by the armchair she selected, Jeglińska has designed playful spatial partitions, which are also colourful characters. The stylised dividers reminiscent of human or animal figures are coquettish pieces. They are located somewhere along the frontier of opening and closing, at the border of 2D and 3D.
艺术家与博物馆
出生于 Fontainebleau, France
Maria Jeglińska-Adamczewska, born in Fontainebleau, France, in 1983, embodies a fascinating paradox within the contemporary design landscape. She is an artist who quietly champions simplicity and functionality, yet her work resonates with a profound depth that has garnered international acclaim. Her journey, marked by rigorous training at the prestigious ECAL (École Cantonale d'Art de Lausanne) and formative experiences in studios alongside luminaries like Konstantin Grcic and Alexander Taylor, initially pointed towards a career steeped in global design trends. However, Jeglińska’s unexpected return to Poland proved pivotal, igniting a creative force dedicated to fostering a uniquely Polish aesthetic while simultaneously engaging with universal principles of form and space.
Jeglińska's education at ECAL was foundational. The school’s emphasis on industrial design—a discipline that marries artistic vision with practical application—instilled in her a deep respect for materials, processes, and the user experience. Scholarships from institutions like IKEA further broadened her horizons, providing opportunities to collaborate and learn from established figures. Her early work, influenced by these experiences, demonstrated a keen understanding of minimalist principles and a sophisticated approach to spatial composition. Yet, it was her decision to relocate back to Poland in 2007 that truly defined her artistic trajectory. This wasn’t merely a geographical shift; it represented a conscious choice to engage with a specific cultural context—a desire to contribute to the burgeoning Polish design scene and challenge preconceived notions about its capabilities.
In 2012, Jeglińska established the Office for Design & Research, a studio that quickly became synonymous with thoughtful, research-driven design. The office’s ethos centers on the belief that rigorous investigation can unlock innovative solutions and generate new forms of expression. This isn't simply about aesthetics; it’s about understanding the social, cultural, and historical forces that shape our interaction with objects and spaces. Her projects span a diverse range of applications—furniture, lighting, functional objects, exhibition design, and even filmmaking—reflecting a holistic approach to creativity. Clients such as Ligne Roset, Kvadrat, Vitra, and Hermès attest to the studio’s international appeal and its ability to seamlessly blend artistic integrity with commercial viability.
Jeglińska's impact extends beyond her own design work. She has curated numerous exhibitions that showcase both Polish and global talent, acting as a vital bridge between local artisans and the international art community. Her curation of “Punkty Widzenia / Punkty Siedzenia” (“Ways of Seeing/Sitting”) at the Łódź Design Festival in 2012 demonstrated her ability to create compelling narratives through carefully selected objects. Perhaps most notably, she co-curated and designed the Polish Pavilion for the inaugural London Design Biennale in 2016, a project that brought Polish design to the forefront of international attention. From 2018 to 2020, her role as creative director of the ARENA DESIGN fair in Poznań further solidified her position as a leading voice in the Polish design landscape.
Maria Jeglińska’s significance lies not in flamboyant gestures or radical departures from tradition, but rather in her subtle yet powerful commitment to quiet innovation. She represents a new generation of designers who are actively challenging the boundaries between art, design, and research. Her work is characterized by an understated elegance that belies its intellectual depth—a testament to the power of simplicity and functionality when informed by rigorous investigation and cultural awareness. Her influence can be seen in the growing recognition of Polish design on the global stage, and her dedication to fostering a vibrant creative community ensures that her legacy will continue to inspire for years to come. Her recent participation in projects like “Connected” with the American Hardwood Export Council demonstrates an ongoing commitment to exploring new materials and responding to contemporary challenges, solidifying her position as a vital force in the evolving world of design.
展出于 布达佩斯, 匈牙利
踏入布达佩斯应用艺术博物馆的门槛，仿佛进入了一个艺术渗透进日常生活方方面面的境界——从家具设计那宏大的气势，到玻璃工艺那细腻的精妙。这里不仅仅是一座存放美丽器物的仓库，更是匈牙利艺术灵魂的生动见证；在这里，手工艺超越了功能性，绽放出令人屏息的艺术之美。博物馆始建于1872年，最初的构想是作为培育国家蓬勃发展的手工业之手段，而今它已演变成世界上最古老、最全面的应用艺术收藏馆之一。它开启了一场深刻的旅程，带人们穿梭于人类创造力所寄托在日常器物之中的情感，邀请每一位访客去见证那段美感早已织入日常生活肌理的辉煌遗产。
博物馆建筑本身的宏伟壮丽便是一件杰作，为馆内珍宝搭建了一个令人惊叹的舞台。这座建筑由富有远见的建筑师厄德恩·莱希纳（Ödón Lechner）与尤拉·帕尔托斯（Gyula Pártos）于1893年至1896年间设计完成，是匈牙利分离派风格（Hungarian Secession style）的宏伟化身——这是对新艺术运动的一种具有本土灵魂的诠释。其独特的绿色屋顶与装饰华丽、点缀着复杂花卉图案的立面，瞬间便能俘获感官。步入室内，建筑之美延续着迷人的魅力，高耸的天花板与宽阔的窗户让自然光洒满展厅。内部设计微妙地融入了印度、莫卧儿及伊斯兰艺术传统的影子，营造出一种国际化的氛围，映射出匈牙利历史上与全球美学的深度交融。这座建筑奇迹不仅仅是艺术的容器；它
本身就是
艺术。
在这些充满故事的墙垣之内，展开了一幅由数世纪匈牙利及国际艺术交织而成的华丽锦缎。馆藏极其丰富多样，为人们提供了跨越时空与文化的沉浸式设计演变探索。对于寻求灵感的收藏家或室内设计师而言，家具馆藏尤为引人注目，其中的每一件作品不仅是实用的器物，更是风格与社会地位的深刻表达。人们可以追溯其设计脉络：从新艺术运动那流动的、有机线条的曲线，到反映包豪斯原则的严谨且几何化的精确感。每一把制作精良的扶手椅或橱柜，都体现了特定时代在装饰与实用之间的美学张力。
博物馆的珍宝远不止于木材与织物。金属工艺那闪耀的光泽以其精湛的细节令人着迷，由匈牙利著名银匠打造的银质餐具映射出贵族时代的往昔，而兵器则作为人类智慧的见证而展现在世人面前。纺织品馆藏通过田园风格的地毯与刺绣挂毯，诉说着匈牙利遗产的故事，赞颂着皇室的庇护。此外，玻璃艺术收藏呈现出令人眼花缭乱的形式，从仿佛挑战重力的精致花瓶，到以迷人方式捕捉光影的复杂雕塑，不一而足。其中一个显著的亮点是朱莉娅·佐洛奈（Julia Zsolnay）的贡献，她对瓷器装饰的精湛掌控深受东方图案启发，完美诠释了匈牙利与全球艺术趋势的高水平接轨。
应用艺术博物馆的故事与匈牙利的国家认同及其在全球舞台上的抱负紧密相连。它由议会法案设立，最初作为加强本土工业和提升公众品味的至关重要资源。早期的馆藏通过世界博览会进行战略性采集，在向匈牙利观众引入国际影响力的同时，也向世界展示了本国卓越的艺术实力。这种艺术与工业之间的协作精神，在数十年的时间里，通过企业与私人收藏家的慷慨捐赠而日益丰富，确保了其馆藏规模能够超越国界，拥抱来自全球各地的艺术杰作。
时至今日，博物馆的影响力已超越了布达佩斯的主馆，通过霍普·费伦茨东方艺术博物馆（Hopp Ferenc Museum of Eastern Asiatic Arts）和纳吉特泰尼宫（Nagytétény Palace）进一步延伸，每个分支都为应用艺术传统提供了独特的视角。虽然目前正在进行持续的修缮工作，旨在修复并现代化主建筑——以确保其历史完整性能为后代所保存——但博物馆依然是一个充满生命力的重要机构。对于艺术爱好者和精美设计的设计追求者而言，这里始终是一个必经之地；这是一个美感、工艺与文化遗产在和谐辉煌中交汇的地方，时刻提醒着我们：艺术是我们共同人类经验中不可或缺的一部分。
originaluniqueart.com/zh/art/download/maria-jeglinska-portable-wall-b-D7F887-en/
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Portable Wall-B — Maria Jeglińska
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Maria Jeglińska 也被称为 Maria Jeglińska-Adamczewska。
"Portable Wall-B" 是由 Maria Jeglińska 于 2019 年创作的。