Ars inspiratio. Studia dedykowane Profesor Eleonorze Jedlińskiej
Ars inspiratio. Studies dedicated to Professor Eleonora Jedlińska
Contributor(s): Aneta Pawłowska (Editor), Krzysztof Stefański (Editor), Magdalena Milerowska (Editor)
Subject(s): Fine Arts / Performing Arts, Architecture, Essay|Book Review |Scientific Life, Scientific Life, History of Art
Published by: Wydawnictwo Uniwersytetu Łódzkiego
Keywords: Eleonora Jedlińska; studies; jubilee; art history; University of Lodz; Lodz; 2024
Summary/Abstract: This collection of studies is dedicated to Professor Eleonora Jedlińska, an eminent art historian, exceptional educator, and long-serving head of the Department of History of Painting and Sculpture at the University of Łódź. The book encapsulates the diverse trends in contemporary humanities, with a particular focus on art history. It is divided into three sections: A Look into the Past, In the Circle of Jewish Art, and New Art: A Look into the Future. These themes align with Professor Jedlińska's research, which encompasses the theory and methodology of art history, Jewish art, and art in the context of the Holocaust. The essays in this volume will appeal not only to art historians but also to cultural scientists, philosophers, historians, and architects.
Series: Uniwersytet Łódzki
- E-ISBN-13: 978-83-8331-666-6
- Print-ISBN-13: 978-83-8331-667-3
- Page Count: 502
- Publication Year: 2024
- Language: Polish
Tabula Gratulatoria
Tabula Gratulatoria
(Tabula Gratulatoria)
- Author(s):Aneta Pawłowska, Krzysztof Stefański, Magdalena Milerowska
- Language:Polish
- Subject(s):Essay|Book Review |Scientific Life, Obituary, Editorial
- Page Range:15-16
- No. of Pages:2
Słowo wstępne
Słowo wstępne
(Foreword)
- Author(s):Aneta Pawłowska, Krzysztof Stefański, Magdalena Milerowska
- Language:Polish
- Subject(s):Essay|Book Review |Scientific Life, Cultural Essay, Editorial, Scientific Life
- Page Range:17-22
- No. of Pages:6
Bibliografia prac drukowanych prof. Eleonory Jedlińskiej
Bibliografia prac drukowanych prof. Eleonory Jedlińskiej
(Bibliography of the printed works of Prof. Eleonora Jedlińska)
- Author(s):Krzysztof Stefański, Magdalena Milerowska
- Language:Polish
- Subject(s):Essay|Book Review |Scientific Life, Editorial, Scientific Life
- Page Range:23-32
- No. of Pages:10
Galeria zdjęć Jubilatki
Galeria zdjęć Jubilatki
(Photo gallery of the Jubilarian)
- Author(s):Krzysztof Stefański, Magdalena Milerowska
- Language:Polish
- Subject(s):Obituary, Scientific Life
- Page Range:33-37
- No. of Pages:5
O symbolice XIV-wiecznych scen rodzajowych, ukazanych w rzeźbie architektonicznej dwóch fryzów impostowych kolegiaty w Sandomierzu
O symbolice XIV-wiecznych scen rodzajowych, ukazanych w rzeźbie architektonicznej dwóch fryzów impostowych kolegiaty w Sandomierzu
(On the symbolism of 14th-century genre scenes depicted in the architectural sculpture of two impost friezes of the collegiate church in Sandomierz)
- Author(s):Olga Tuszyńska-Szczepaniak
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Essay|Book Review |Scientific Life, Sociology of Art, History of Art
- Page Range:41-70
- No. of Pages:30
- Keywords:architectural sculpture; animals symbolism; medieval symbolism
- Summary/Abstract:Gothic collegiate church of the Nativity of the Blessed Virgin Mary in Sandomierz, founded by king Casimir the Great, has an interesting set of architectural sculp-tures within the keystones, corbels and impost friezes. Most of them are examples of high-class art. Among the rich floral decorations in the capital zone of the temple, there are images of animals and fantastic creatures. Particularly noteworthy are thesculptural decorations on the friezes of two pairs of pillars, located on the line ofthe two entrances to the temple –the northern and southern one. They depict dogs chasing a hare and a dog chasing a hedgehog. These scenes are unique not only because of the visible interactions that carry the content of medieval symbolism, but also pro-vide an opportunity to try to understand the ideological program of the architectural sculpture of the Sandomierz collegiate church. The key to understanding it are the texts of church fathers, physiologists and bestiaries along with rich medieval iconography.
Kaplice na zamku w Kamieńcu Podolskim
Kaplice na zamku w Kamieńcu Podolskim
(Chapels in the castle in Kamianets-Podilskyi)
- Author(s):Zbigniew Bania
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:71-84
- No. of Pages:14
- Keywords:Kamianets-Podilskyi; castle; Orthodox church; church; mosque
- Summary/Abstract:Inthe texts about the castle in Kamianets-Podilskyi, we find mentions of the St. Stanislaus church located in its courtyard, as well as the Orthodox church. Based on castle inventories from the 16th and early 17th century, it is possible to de-termine their founders and the hypothetical time of these objects’ construction. The Orthodox church was erected at the end of the 14th century from the foundation ofthe Lithuanian princes Koryatowicz. The church of St. Stanislaus was built with funds from Jan Potocki at the turn of the 16th and 17th centuries. When Kamianets-Podilskyi came under Turkish occupation, probably at that time, after 1672 the Orthodox church wasdemolished and the church of St. Stanislaus was turned into a mosque. Ruined, itwas demolished after the recapture of Kamianets-Podilskyi by Poland in 1699.
Sztuka ożywiania - instalacje wodne w renesansowych ogrodach
Sztuka ożywiania - instalacje wodne w renesansowych ogrodach
(The art of enlivening - water installations in renaissance gardens)
- Author(s):Piotr Gryglewski
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Sociology of Art, History of Art
- Page Range:85-103
- No. of Pages:19
- Keywords:garden architecture; renaissance art; renaissance gardens; residential architecture; water installations
- Summary/Abstract:Water is crucial to the functioning of garden settings. The ways in which it is obtained and supplied have always played an important role. They combined purely technical elements with the decoration of the gardens themselves. These systems included water reservoirs, fountains or cascades, playing a decorative role while at the same time improving the whole system of distributing the necessary water. Duringhe Renaissance, building on the experience of earlier eras, these skills were creatively developed. Among these, the most interesting are the hydraulic systems known from Rome, Naples or the Medici residences. The solutions applied there in the 16th century also influenced Polish founders.
Franciszkańscy męczennicy z Japonii w kulturze religijnej i sztuce Nowej Hiszpanii i Wicekrólestwa Peru
Franciszkańscy męczennicy z Japonii w kulturze religijnej i sztuce Nowej Hiszpanii i Wicekrólestwa Peru
(The Franciscan martyrs of Japan in the religious culture and art of New Spain and the Viceroyalty of Peru)
- Author(s):Ewa Kubiak, Doris Bieñko de Peralta
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Sociology of Art, History of Art
- Page Range:105-137
- No. of Pages:33
- Keywords:martyrs of Nagasaki; colonial painting; art of the Viceroyalty of Peru; art of New Spain; modern iconography
- Summary/Abstract:The article traces the reception and depiction of the events that took place on 5February 1597 in Nagasaki, Japan (i.e. the martyrdom of the Franciscans) in the Spanish colonies in America. Accounts describing the death of the friars very quickly reached the territories of New Spain and the Viceroyalty of Peru, and the beatification in 1627 was used as a pretext for preparing publications, organising public celebrations and creating visual representations commemorating the martyrs. The paper character-ises multifigure scenes from both Mexico and Peru. It shows representations in several perspectives, presents the iconography and martyrdom tradition of the Franciscan order and characterises various functions of the narrative story glorifying the martyrs in the Far East. The author points out that the visualisations aimed to promote the attitude of a true Christian in the face of danger, which was reflected in American realities during the missionary activities of the friars. The final aspect of the representa-tions, which is characterised in the article, is a didactic and evangelising function ofthe paintings.
Perspektywy na Salon. Artyści ze Lwowa a Paryż w pierwszej połowie XIX wieku
Perspektywy na Salon. Artyści ze Lwowa a Paryż w pierwszej połowie XIX wieku
(Perspectives on the Salon. Artists from Lviv in Paris in the first half of the 19th century)
- Author(s):Agnieszka Świętosławska
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Sociology of Art, History of Art
- Page Range:139-162
- No. of Pages:24
- Keywords:Lviv art; French art; 19th century art; artistic emigration; artistic con-tacts; Paris Salons
- Summary/Abstract:In 1852, Henryk Rodakowski, a native of Lviv, was awarded a first prize at the Paris Salon, marking a significant achievement in the history of art. This was an unprecedented success; nevertheless, he was not the pioneering artist from Lviv to attempt to make a name for himself on the French art scene. The Lviv milieu had been experiencing a period of increasing activity since the beginning of this century, largely due to stronger contacts with other European centres. However, the dominant influ-ence was that of the artistic centre of the Austrian Empire, Vienna. Paris was a city that was still relatively rarely visited by Lviv artists at that time. Nonetheless, these initial contacts were significant in terms of the transfer of trends and the awareness of the directions of development of contemporary painting. The objective of this article is to synthesise, often residual and incomplete, information on the interactions between artists from Lviv and the artistic milieu in France. The area of consideration will be both short-term visits and long-term stays, but above all this analysis will focus on the participation of these artists in the Salons, which, both for this text and for European artistic life, had a consolidating and centralising function for all artistic efforts.
W cieniu „wiejskich katedr”. Sakralna architektura drewniana z obszaru diecezji sandomierskiej i kieleckiej na przełomie XIX i XX wieku na wybranych przykładach
W cieniu „wiejskich katedr”. Sakralna architektura drewniana z obszaru diecezji sandomierskiej i kieleckiej na przełomie XIX i XX wieku na wybranych przykładach
(In the shadow of ‘village cathedrals’. Sacred wooden architecture from the area of Sandomierz and Kielce dioceses at the turn of the 19th and 20th centuries based on selected examples)
- Author(s):Daria Rutkowska-Siuda
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Sociology of Art, History of Art
- Page Range:163-187
- No. of Pages:25
- Keywords:wooden sacral architecture; protection of monuments; Dzierzgów; Miedzierza; Policzna; Olbierzowice
- Summary/Abstract:In the early nineteenth century wooden architecture prevailed in the area of the Kingdom of Poland. It also dominated in sacral architecture. This article fo-cuses on the analysis of selected examples of Roman Catholic churches from the areaof Sandomierz and Kielce dioceses. Objects from, inter alia, Dzierzgów, Miedzierza,Policzna, Olbierzowice, Kielce, Zborówek, allow us to observe a wide spectrum ofproblems affecting this type of building : from attempts to protect it by the transfor-mation, which often deprived it of the historic value, to the complete replacementwith brick buildings, in which shadow it had to pass away. To better understand some of the formal transformations of the mass and the types of work carried out, source descriptions from archival documentation and periodicals are cited.
„Talent jej był przede wszystkim męskim”. Krytyka artystyczna a płeć od lat 80. XIX wieku do lat 30. XX wieku
„Talent jej był przede wszystkim męskim”. Krytyka artystyczna a płeć od lat 80. XIX wieku do lat 30. XX wieku
(“Her talent was primarily male”. Art criticism and gender from the 1880s to the 1930s)
- Author(s):Joanna Jaśkiewicz
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Sociology of Art, History of Art
- Page Range:189-201
- No. of Pages:13
- Keywords:women’s art; art criticism; gender
- Summary/Abstract:Among the obstacles professional women artists faced in the late 19th and at the beginning of the 20th century, perhaps the most difficult to overcome were preju-dices about the relationship between gender and creativity. Stereotypically, women were seen as incapable of artistic work, and any piece of art they created had to have a masculine element to be taken seriously. This way of thinking was echoed in many critical texts, even in those that were favorable in tone. This article collects a number of examples that allows one to trace how the gender of women artists affected the reception of their work.
Listy z Warszawy Tytusa Czyżewskiego – przegląd poruszanej problematyki
Listy z Warszawy Tytusa Czyżewskiego – przegląd poruszanej problematyki
(Listy z Warszawy [Letters from Warsaw] by Tytus Czyżewski – an outline of the issues discussed)
- Author(s):Małgorzata Geron
- Language:Polish
- Subject(s):Architecture, Sociology of Art, History of Art
- Page Range:203-217
- No. of Pages:15
- Keywords:Tytus Czyżewski; “Głos Plastyków”monthly; art criticism; modern art; the 18th Venice Biennale; Towarzystwo Zachęty Sztuk Pięknych [The Society for the Encouragement of Fine Arts]; Instytut Propagandy
- Summary/Abstract:In addition to being a painter and poet, Tytus Czyżewski was also an art critic, col-laborating with numerous periodicals. Between 1932 and 1937, he published in the “Głos Plastyków” a series of monthly columns that were collectively titled Listy z Warszawy [Letters from Warsaw]. The texts constituted a personal chronicle of War-saw’s artistic life. The author chronologically commented on the level of contempo-rary art criticism, which, in his opinion, was characterized by conservatism and lack of openness to new trends in art, which, according to the author, were reaching Poland with a considerable delay. In addition, he shared his comments on the exhibition policy of Towarzystwo Zachęty Sztuk Pięknych, Instytut Propagandy Sztuki, and the Na-tional Museum in Warsaw. Czyżewski’s articles reveal the genuineness of observation and a solid evaluative attitude; their concept and the title itself bring to mind his Listy z Paryża [Letters from Paris]. The latter were published in Zwrotnica in 1922–1923 when Czyżewski resided in Paris and was a foreign correspondent collaborating with the magazine.
Muzea w pałacach. Adaptacja łódzkich rezydencji fabrykanckich na cele muzealne
Muzea w pałacach. Adaptacja łódzkich rezydencji fabrykanckich na cele muzealne
(Museums in palaces. Adaptation of the residences of Lodz factory owners for museum purposes)
- Author(s):Krzysztof Stefański
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Sociology of Art, History of Art
- Page Range:219-246
- No. of Pages:28
- Keywords:architecture of Lodz; residential architecture; interiors of the late19th and early 20th centuries; museums
- Summary/Abstract:The phenomenon of the post-1945 adaptation of the Lodz industrialists’ residences– villas and palaces – for museum purposes deserves a closer analysis. The fateof these buildings reflects the significant political changes in the post-war period.One of the most interesting projects of this kind was the conversion of the residences belonging to the most important industrialist families in Lodz into museums: the former palace of Izrael Poznański was designated as the seat of the City Museum (formerly the City History Museum), and the palace of his son Maurycy Poznański became the seatof the Art Museum. In turn, the villa of Matilda and Edward Herbst in Księży Młyn was transformed into a branch of the same museum, as the Herbst Palace Museum. The Scheibler Palace on Zwycięstwo Square was turned into the Museum of Cinematog-raphy. All these buildings were renovated and adapted to their new functions, which was not always an easy task. Thanks to these works, the city has been enriched with important cultural institutions, which are visited by residents and tourists. They can view the museum collections and admire at the same time the original and partially reconstructed interiors of the former palace buildings.
Obrazy z getta Samuela Hirszenberga
Obrazy z getta Samuela Hirszenberga
(Pictures from the ghetto by Samuel Hirszenberg)
- Author(s):Irmina Gadowska
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Sociology of Art, History of Art
- Page Range:249-267
- No. of Pages:19
- Keywords:Jewish art; Samuel Hirszenberg; Polish painting in 19th century; art in Łódź
- Summary/Abstract:The oeuvre of Lodz-born Samuel Hirszenberg (1865–1908) includes paintings diverse in genre and style: from genre paintings, through portraits, landscapes, tosymbolic representations. The article describes selected works with Jewish themes, de-picting daily life in the Diaspora, often addressing the ideological crisis experiencedby Jewish communities at the turn of the 20th century. The cited excerpts from texts and reviews devoted to the painter, published in the press of the time, provide insight into the reception of the paintings, shedding additional light on how his artistic explo-rations and achievements were perceived and evaluated.
Świadectwo miejsca i czasu. Rysunki Fiszela Zylberberga (Zbera) z obozu internowania w Beaune-la-Rolande (departament Loiret we Francji)
Świadectwo miejsca i czasu. Rysunki Fiszela Zylberberga (Zbera) z obozu internowania w Beaune-la-Rolande (departament Loiret we Francji)
(Testimony of place and time. Drawings by Fiszel Zylberg (Zber) from the internment camp in Beaune-la-Rolande (Loiret, France))
- Author(s):Renata Piątkowska
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Special Historiographies:, History of the Holocaust, Sociology of Art, History of Art
- Page Range:269-292
- No. of Pages:24
- Keywords:Fiszel Zylberberg; Jewish art; Holocaust; Beaune-la-Rolande
- Summary/Abstract:Fiszel Zylberberg (pseud. Zber) was born in Płock in 1909, studied at the Warsaw School of Fine Arts. He was a member of the graphic artists group “Black and White”. In 1936, he left for Paris. The outbreak of the Second World War interrupted Zber’s promising career (Zber was a name he used in Paris). Detained on 14 May 1941 during the so-called Jewish round-up, he was interned in the Beaune-la-Rolande camp. On 4 July 1942, he was taken to the Pithiviers camp, from where he was deported to Auschwitz on 17 July. There he died on 26 October 1942.This article centers on Zber’s wartime work: drawings done in the Beaune-la-Ro-lande camp. Portraits of fellow prisoners, camp’s views, pictures of prisoners’ daily life are an important historical source and personal document. By analyzing their content and materiality, we can see not only the camp’s everyday life, but also look deeper: into the hope of survival, into the dreams of the future. Collections of Zber’s campworks canbe found at Cercil Musée-Mémorial des enfants du Vel d’Hiv in Orléans, at the Musée d’art et d’histoire du Judaïsme in Paris and at the United States Holocaust Memorial Museum in Washington DC.
Między maskami i lustrem – o dwóch autoportretach Felixa Nussbauma
Między maskami i lustrem – o dwóch autoportretach Felixa Nussbauma
(Between masks and mirror – two self-portraits by Felix Nussbaum)
- Author(s):Magdalena Milerowska
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Special Historiographies:, History of the Holocaust, Sociology of Art, History of Art
- Page Range:293-310
- No. of Pages:18
- Keywords:Felix Nussbaum; Jewish art; German art; self-portraits; Holocaust
- Summary/Abstract:Felix Nussbaum was an artist whose years of creative activity coincided with the Weimar Republic and the Third Reich. This artist, extremely narrative in his art, is primarily associated with his politically-tinged works painted during the Second World War, which became poignant testimony to the Holocaust. However, Nussbaum himself opposed the categorisation of his artistic activities for quite a long time; nev-ertheless at the same time, in most of his pre-war works, he tried to subtly express his opinion on issues currently bothering him related to his perception of family, society and religion. In this article, I have undertaken an analysis of two self-portraits (Self- -Portrait with a Mask and Self-Portrait at the Easel) to show how, in this painting genre, the artist sought answers underlying his shaky identity.
Nieostrość i punctum (Sasnal w Muzeum POLIN)
Nieostrość i punctum (Sasnal w Muzeum POLIN)
(Bluredness and punctum (Sasnal at the POLIN Museum))
- Author(s):Agnieszka Rejniak-Majewska
- Language:Polish
- Subject(s):Architecture, Sociology of Art, History of Art
- Page Range:311-329
- No. of Pages:19
- Keywords:memory; POLIN Museum of the History of Polish Jews; contempo-rary art; curatorial practice; Wilhelm Sasnal
- Summary/Abstract:The text is devoted to the exhibition Wilhelm Sasnal: Such a Landscape presentedin 2021 at the POLIN Museum in Warsaw. Presented not in an artistic institu-tion, but in a place dedicated to memory and history, the exhibition has shed new light on Sasnal’s work, as an expression of his personal commitment to confronting the shadows of the past. The artist, the world-famous Polish painter, here positioned himself as a mediator, an intermediary, one who touches painful realities, but does not claim the title to instruct anyone. Sasnal’s interest in history and his references to Spiegelman’s Maus or Lanzmann’s Shoah had already been noticed before, but the exhibition in question has decidedly moved the perception of his work beyond iden-tifying it with a play of quotations and exploring the possibilities of the painterly me-dium. The text analyses the exhibition’s arrangement, the selection of presented works,and the way of establishing connections between them. The importance of the illus-trated guide accompanying the exhibition, including the artist’s comments and drawingsis emphasized. The author also examines press reviews and interviews with the author and curator regarding the exhibition design and Sasnal’s working method. The subject of consideration is in particular the concept of “landscape” used in the title of the exhibition: its literal and figurative meanings, as well as the related problems of visibil-ity, illegibility, and formlessness attempts – to approach what is present, but blurred: things painful and shameful in the collective memory.
Od kolekcji judaików do wystaw syjonistycznych
Od kolekcji judaików do wystaw syjonistycznych
(From Judaica Collections to Zionist Exhibitions)
- Author(s):Artur Kamczycki
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Sociology of Art, History of Art
- Page Range:331-349
- No. of Pages:19
- Keywords:judaica; art history; Jewish culture and art; a-iconism; zionism
- Summary/Abstract:For religious Jews in medieval and modern times, art – in the Western European sense – was an irrelevant and unnecessary issue for life, because traditional Judaism, observing the second commandment of the Mosaic Decalogue, rejected its existence as an object of adoration and “delight”. (Exodus 20:4). In religious culture, art and creativity can only be understood in the context of artistic craftsmanship, and its char-acteristic feature is the symbolic and decorative aspect. Moreover, in religious circles there is a lack of concepts of the autonomy of the artwork and its contemplation as well as a definition of artistic creation. Nevertheless, since the Middle Ages (12th century) there has been a custom of collecting religious exhibits in synagogues, and the activity of individual collectors of Judaica dates back to the 17th century. The turn of the 19th and 20th centuries marked the beginning of the Zionist movement, in whose program – following the European model – art was to be an element of building a new ( Jewish) identity, and collections of old Judaica were included in this process. Henceforth, it was assumed that visual arts would be fully used for the purposes of the so-called pro-motion of Zionism and its demands, as well as starting a debate on the role, function and possibilities of impact of visual arts. Therefore, within the framework of Zionism, not only was the theory of art reevaluated (and its universal adaptation), but, above all, it was harnessed to specific goals and the projection of postulates calling for the formation of a separate national and Zionist consciousness. We can therefore repeat after Kalman Bland that “What complicates the argumentation of Jewish Aiconism is late-nineteenth-century Zionism.” It should also be added, following Steven Fine, that: “Israel begins its adventure with art only in the centenary of Zionism”.
„Tedy istotą sztuki byłoby odkładanie-się-w-dzieło prawdy bytu”. Postać Césara Manrique i jego kreacje artystyczne
„Tedy istotą sztuki byłoby odkładanie-się-w-dzieło prawdy bytu”. Postać Césara Manrique i jego kreacje artystyczne
(“Thus, the essence of art would be the laying-into-work of the truth of being.” The figure of César Manrique and his artistic creations)
- Author(s):Aneta Pawłowska
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Sociology of Art, History of Art
- Page Range:353-366
- No. of Pages:14
- Keywords:César Manrique; El Informalismo; Spanish art; 20th century
- Summary/Abstract:This text presents César Manrique, a lesser-known in Poland Canarian visual artist who played a significant role in the Spanish abstract art movement El Informalismo. Initially, Manrique, alongside other notable artists, experimented in his paintings with the properties of matter. After international travels, he returned in 1968 to his hometown of Arrecife, and there his focus shifted towards preserving the natural landscape. Manrique fought to maintain the unique low-rise coastal buildings andtraditional viticulture in Lanzarote. Some of his notable projects on the island include a house in the dried-up Taro de Tahiche stream, the Jameos del Agua Grotto, the Mirador del Rio, the El Diablo restaurant, the Meliá Salina Hotel garden & pools, and the Jardin de Cactus. His contribution to the preservation of Lanzarote’s cultural heritage was recognized with the Europa Nostra Award in 1986.
„Maria Anto, fenomen w Galerii Cortina” – wyjątkowe odkrycie Dino Buzzatiego w Warszawie
„Maria Anto, fenomen w Galerii Cortina” – wyjątkowe odkrycie Dino Buzzatiego w Warszawie
(“Maria Anto, a phenomen in the Cortina Gallery” – Dino Buzzati’s unique discovery in Warsaw)
- Author(s):Małgorzata Reinhard Chlanda
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Architecture, Sociology of Art, History of Art
- Page Range:367-384
- No. of Pages:18
- Keywords:Maria Anto; Galleria Cortina; Milan; Dino Buzzati; Polish-Italian artistic contacts 1971–1996; Italian art criticism
- Summary/Abstract:Maria Anto’s most spectacular success in Italy came in the 1970s. Anto’s “discoverer” for Italy was Dino Buzzati, who considered the Polish artist one of the most original personalities in the field of contemporary fantasy art. He became fascinated with her paintings during a visit to Warsaw in 1969. The famous writer and painter undoubtedly shared a related type of poetic imagination, an atmosphere of imagery. Thanks to the writer’s recommendation, in 1971, a large individual exhibition of Anto’s works was held at the renowned Galeria Cortina in Milan. This event had a great resonance in the artistic and intellectual community of Milan. The famous critic and poet Roberto Sanesi devoted an extensive essay to the artist in the catalog. In the press, among others: “Corriere della Sera” commented on the exhibition: Dino Buzzati, Raffaele Carrieri, Emillio Radius. Critics tried to define the phenomenon of Anto’s work, looking for the specificity and cultural references of her painting. Following her first success in Milan, the artist exhibited in Italy several more times. Over the course of fifteen years, until 1996, she showed works in galleries in Milan, Verona, Trieste, Parma, Vicenza and Rome.
Ciche sacrum w malarstwie Stefana Gierowskiego
Ciche sacrum w malarstwie Stefana Gierowskiego
(A silent sacrum in the painting of Stefan Gierowski)
- Author(s):Olga Jagnicka
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:385-412
- No. of Pages:28
- Keywords:Decalogue; Gierowski; abstraction; painting; contemporary art; color; form
- Summary/Abstract:The article focuses on the presence of the sacred in the works of Stefan Gierow-ski. The phenomenon of the presence of spirituality is analysed on the basis ofseveral works belonging to the cycle Painting the Ten Commandments (1986–1987).The cycle originated as a visual interpretation of the Decalogue. The artist inter-prets the theme taken up through the language of form and colour, expressing hisconviction that through the language of abstract art it is possible to fully depict the sphere of spirituality. I analysed selected four works from the cycle, in which, in addi-tion to showing their relationship to the biblical Decalogue, the aspect of silence and contemplative experience was highlighted. Purity, clarity of compositions characteris-ing Gierowski’s painting cycle is a artistic response to fundamental moral rights. The main objective of the article is to show how art can produce a contemplative experience and convey the value of silence in the modern man’s environment.
Reklama kolejowa i murale jako przykład projektowania graficznego na zlecenie Banku Pekao S.A. w latach 1945–1989
Reklama kolejowa i murale jako przykład projektowania graficznego na zlecenie Banku Pekao S.A. w latach 1945–1989
(Railway advertising and murals as an example of graphic design commissioned by Bank Pekao S.A. in the years 1945–1989)
- Author(s):Adam Drozdowski
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:413-431
- No. of Pages:19
- Keywords:history of graphic design; graphics; PRL; Bank Pekao S.A.; history of advertising
- Summary/Abstract:Bank Pekao S.A. is one of the oldest institutions of this type in the country. Already in the interwar period, it decided to use modern forms of advertising, such as: neon lights. After the war, the Bank commissioned designs for promotional materi-als from the Poland’s most outstanding graphic designers, such as Waldemar Świerzy, Karol Śliwka and Tadeusz Jodłowski. At Pekao’s request, they developed not only multi-colored posters, but also less spectacular forms of advertising, such as leaflets, brochures and packaging for food offered as part of the internal export. In order to reach the widest possible audience, an important role in the history of graphic design on behalf of the institution has been played by forms of advertising appearing in public space, in particular at railway stations and inside the trains, but also as large-format murals placed on the walls of buildings in prominent locations. However, organizing advertising methods in a centrally planned economy was not an easy task. The imple-mentation of the projects used to be hampered by a lack of appropriate materials, as well as logistical difficulties, due to the printing industry’s weak capacity. Nonetheless, in an era associated mainly with the hardships of everyday life and the all-pervading „greyness”, the advertising materials ordered by Pekao, delighted with their interest-ing forms, expressive colors and high level of workmanship.
Łodzianka na Podlasiu. Pejzaż i martwa natura Agnieszki Żmudy
Łodzianka na Podlasiu. Pejzaż i martwa natura Agnieszki Żmudy
(A woman from Łódź in Podlasie. Landscape and still life by Agnieszka Żmuda)
- Author(s):Jan Wiktor Sienkiewicz
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:433-446
- No. of Pages:14
- Keywords:Agnieszka Żmuda; painting; Polish colorism; 21st century art
- Summary/Abstract:Agnieszka Żmuda is a painter originally from Lodz who has been working in Białystok for more than twenty years. She showed her paintings for the first time in an individual exhibition at the Alfons Karny Museum in Białystok in late 2023. The textis the first attempt to look at this artist’s creative achievements to date. She received her academic training in painting at the Academy of Fine Arts in Warsaw, and crowned it with a Master of Fine Arts degree obtained with distinction in 2001. Working in tempera and oil techniques, she primarily focuses on landscapes and still life genres. In her diverse and experimental painting, we can find many vectors and directions that particularly draw from the tradition of Polish colorism, born in the 1930s. This tradition was further developed and present in post-war academic teaching in Kraków and Warsaw artistic circles. The workshop experiences from Żmuda’s studies, acquired at the Warsaw Academy of Fine Arts under the guidance of Danuta Makowska (a student of the Kapist masters), have had a significant impact on the search for her own artistic path. Color and composition are the main axes of Żmuda’s exploration in painting, which is diverse and full of experiments. It is constantly evolving : from realistic compositions to increasingly abstract and expressionistic ones, demonstrating a conscious development combined with freshness of expression.
Symbol
Symbol
(Symbol)
- Author(s):Zofia Lipecka
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Visual Arts, Sociology of Art
- Page Range:447-458
- No. of Pages:12
- Keywords:Zofia Lipecka; 20th and 21st century art; symbol
- Summary/Abstract:Zofia Lipecka uses symbols in her artworks, treating them as the iconographic basis for the narration of the works. The following text is an author’s commentary. It contains significant references to philosophical and anthropological theories based on a deep analysis of the meanings of iconic elements. The artist’s statement is an intellectual guide through the labyrinths of her work.
Scenografia, czyli sztuka XXI wieku
Scenografia, czyli sztuka XXI wieku
(Set design as 21st century art)
- Author(s):Dominika Łarionow
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:459-474
- No. of Pages:16
- Keywords:scenography set design; 21st century art; Marian Wimmer; 20th cen-tury art
- Summary/Abstract:Over the past hundred years, there has been a migration of the concept of decoration from the theater, where it formed the background of performances, to contemporary art galleries, where it shapes the composition of exhibition spaces. This process has become important for the Author of this article, asking, among other things, about the place of the achievements of artists who daily practice the profession of theater set design in the research interests of such fields as art history, among others. The article also includes a consideration of the history of stage design, as well as a discussion of avant-garde theories devoted to the field. Nowadays, stage design has ceased to be just a servant decoration, in the 21st century it has become an autonomous art, which is aggressively present in ever wider contexts
Sztuka instalacji jako ślad procesu artystycznego
Sztuka instalacji jako ślad procesu artystycznego
(Installation art as a trace of the artistic process)
- Author(s):Paulina Sztabińska-Kałowska
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:475-487
- No. of Pages:13
- Keywords:installation art; trace; artistic process
- Summary/Abstract:In the article I focus on considering installation art as a trace of the artistic process. This issue appeared clearly in connection with action painting and the work of Jackson Pollock. Art critics pointed out that in the case of the American artist’s paintings, making a painting was no longer the goal of his actions. What was presented to the public was a painting, i.e. a surface covered with color spots. However, the properties of this product clearly suggested the need to take into account the activities that led to its creation, and to take into account the painting technique used by Pollock called dripping. Later, in the 1950s and 1960s, this tendency was developed in happenings and events. Happening theorists pointed to action painting as one of the sources of this creativity. The possibility of transforming a happening into an installation and vice versa was included in the concept of both artistic phenomena from the very beginning. Also in performance art, the „remains” of the artist’s actions are often treated as objects or installations. In the article I will discuss examples of the activities of artists (including Allan Kaprow, Joseph Beuys, Marcin Berdyszak, Julian H. Raczko, and others), for whom the created installations are a record of their activities, a kind of trace of themselves.
Żywioł sztuki
Żywioł sztuki
(The element of art)
- Author(s):Krzysztof Cichoń, Agnieszka Kuczyńska
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:489-501
- No. of Pages:13
- Keywords:element; lightning; science as machination; Cassirer; risk of burnout; phenomenology of art; visual semiotics
- Summary/Abstract:The article juxtaposes the feeling of the rationally uncontrolled spontaneity of art with the concept of a sketch as a reaction method. Methods of spontaneous (reflexive, unconscious, instinctive?) action towards what is incomprehensible, illegible, and at the same time treated as potentially existentially important. This is very often an area of instant associations. Associations focused on a quick reaction, not on long, rational analysis. In this context, one of the fundamental problems of today’s “art sciences” is the administrative prohibition of sketchily treating things as (existentially) important for science as points for publications.
