K pojetí kultury u Gillese Lipovetského

Author(s): Ivana Holzbachová / Language(s): Czech Publication Year: 0

With a bit of exaggeration, it could be claimed that Lipovetsky’s lifetime work has focused on (contemporary or post-modern) culture. Surprisingly, Lipovetsky has never defined the concept of culture. It is, thus, necessary to reconstruct it from his work. The presented paper analyses the concept of culture on the background of Lipovetsky’s account of fashion. This account is very broad. Lipovetsky emphasises that fashion covers a large area extending from clothing, social intercourse and religion all the way to an account (and self-constitution) of man. In this regard, Lipovetsky puts special emphasis on the development of individualism in modern society. He also points out inconsistencies in the understanding and the manifestations of individualism.

MODALITĂȚI DE FORMARE A GÂNDIRII INOVATIVE LA STUDENȚI ÎN CADRUL CURSULUI DE „ART-PEDAGOGIE”

Author(s): Eugenia Foca / Language(s): Romanian Publication Year: 0

The "Art-pedagogy" course is considered an innovative direction of high school teaching, which aims to improve the psychological state of students, improve their mental health in order to mobilize the personal potential to master the professional environment and to form consistent holistic perception of the world

Rzeźba legnicka około 1650 roku

Author(s): Aleksandra Bek-Koreń / Language(s): Polish Publication Year: 0

Research into modern sculpture made in Legnica’s art circles has been considerably intensified. A lot of new findings have emerged with regard to Renaissance and Mannerist sculpture. Researchers have also focused on early Baroque sculptures from Legnica. That is why the fact that the oeuvre of this milieu of around 1650 has barely been explored is all the more evident. Nevertheless, despite the tragic consequences of the Thirty Years’ War (1618–1648), interesting works were still produced at the time in Legnica and, especially, its environs. Sculptures produced in Legnica around 1650 were influenced by the oeuvre of sculptors active in the area in the first quarter of the 17th century. They influenced, for example the sculptor known as the Master of the Epitaph of Caspar von Stosch in Czernina. For example, after 1643 he made the epitaph of Michael Eichorn, which as late as in 1893 was still to be found in the Church of SS . Peter and Paul. Archive documents give us the names of artists active in Legnica around the mid–17th century, whom we have not managed to link to known works, artists like Johannis Knaute. The sculptor came from Freiberg and worked in Legnica from around 1615 until 1644. At the same time, there are works whose attribution is impossible. They include the monumental tombstone of the Sighofer family in one of the chapels of the Legnica cathedral. The tombstone was made between 1651 and 1655, most likely having been funded by Eva née Schweinichen, second wife of Johann Sighofer, imperial oficer and counsellor to the Duke of Legnica. We know of no other works by Legnica sculptors from that period, in which the form would be so unequivocally monumentalised. However, there are analogies for the way a majority of other elements were made in earlier sculptures from Legnica. Another characteristic of artists active in Legnica around 1650 is their reliance on tried and tested forms despite evident stylistic changes already happening at the time. The sculptor who undoubtedly replicated set patterns was Abraham Lewe working in the area until 7 November 1663. The mid-1670s was a time of important transformations happening in the wake of the sudden death of Duke George William in 1675. The remains of the last Piast duke were placed in the Piast Mausoleum in Legnica, built in 1677–1679. Its carved decorations were entrusted to the Viennese sculptor Matthias Rauchmiller, a renowned Baroque artist.

Epitafium burmistrza Martina Schmidta z kościoła św. Mikołaja w Brzegu – zapomniany przykład snycerki śląskiej 2. połowy XVII wieku

Author(s): Romuald Nowak / Language(s): Polish Publication Year: 0

The wooden epitaph of the Mayor of Brzeg Martin Schmidt (1583–1668) was initially, i.e. in 1668, placed above the so-called parish priest stalls on the wall of the southern nave of the Church of St. Nicholas in Brzeg, to the left of the entrance to the vestry, next to another monumental epitaph of the family of deacon Daniel Kartscher (d. 1685). During a fire in February 1945 it probably burned down together with the rest of the furnishings. Fortunately, a very good quality photograph has survived, enabling us to analyse the work. The epitaph commemorated one of the most distinguished mayors in the history of Brzeg, a man who remained in his office for 45 years. It had a three-part architectural structure, which drew on the traditional form of late Renaissance epitaphs of burghers. The central part was an oval plaque with a Latin inscription referring to the deceased and his wife Barbara Runtzkin. It was flanked by two Corinthian columns, next to which there stood personifications of the cardinal virtues of Justice and Prudence. The epitaph was crowned with a broken volute cornice. In its centre, there was a low relief coat of arms of the Schmidt family and above it on a base – a tondo with a bust of the deceased painted on metal. The lower part of the work was a suspended cartouche in the form of a frame formed by an auricular ornament complemented by bunches of flowers and fruit, flanked by two atlas putti. It was filled with an emblematic picture painted on wood and stressing the need to remain vigilant in life to ensure constant Divine protection. The author of such a programme was probably Martin Schmidt himself. He was a well-educated man and a friend of many professors from the Brzeg Gymnasium Illustrae. Being on good terms with people at the court of George III of Legnica and Brzeg, he was probably in touch with the artists working there – the author of the portrait as well as the marine representation in the cartouche was Ezechiel Paritius (1622–1688), from 1662 a court painter to Dukes of Legnica and Brzeg. It is more difficult to identify the author of the early Baroque carved framing of the epitaph. However, if the founder used the services an eminent local artist associated with the court of the Legnica–Brzeg Piast dukes in the making of the painted part of the epitaph, he must have done the same when commissioning its carved decorations. The only artist who could make carved decorations of the epitaph of Martin Schmidt in Brzeg at the time was the Bohemian-born sculptor Lucas Müller (ca 1620–1689). As the co-author of the sarcophagus of Duke George III he must have been regarded as worthy of making an epitaph for Schmidt together with the court painter Paritius. This may have been the work that earned him the rights of the city of Brzeg he was granted in the same year in which Mayor Schmidt died.

Georg Zeller (około 1638–1716) i środowisko artystyczne w którym tworzył w świetle ksiąg metrykalnych

Author(s): Artur Kolbiarz / Language(s): Polish Publication Year: 0

Georg Zeller is an artist known to scholars studying early modern sculpture in Silesia, but information about him does not go beyond the early period in his work. What can help to fill the existing gaps and introduce some order into the current information chaos are records from the Wrocław birth, marriage and death registers. Among the names of the sculptor given in the literature – Georg, Franz, Joseph – only the first one is correct. Zeller was born in 1638 in the Bavarian city of Ansbach. He settled in Wrocław shortly after finishing his professional education, around 1662, and initially worked for the Norbertine Monastery. As a consequence of this collaboration, he belonged to the Parish of St. Vincent. There, in 1667, he married Dorotha Knockner and baptised his sons: Sixtus (1668) and Johann Caspar (1670). Around mid-1673 he moved to the neighbouring Parish of St. Matthias, run by the Knights of the Cross with the Red Star, and settled near the auxiliary Church of St. Agnes. The year 1673 was marked by the baptism of his daughter Anna Rosina, who in 1701 married the sculptor Johann Frörix, and 1707 – by the death of Dorotha. In 1709 the widower married Maria Scholtze from Kąty Wrocławskie. Two years later the couple had a son, Franz Anton. The old artist died in 1716. Both monasteries, together with the Jesuits and the Poor Clares, made up the biggest Catholic enclave in predominantly Lutheran Wrocław. Around 1700 similar enclaves functioned in the southern (Parishes of St. Dorotha and Corpus Christi), eastern (Dominican Monastery) and south-western part of the city (Reformanti Franciscan Monastery). These locations were attractive to artists because of the ongoing Baroquisation and construction of churches, as is evidenced by the presence of numerous sculptors making up the core of Wrocław’s artistic milieu of Catholic denomination. Throughout his life in Wrocław Zeller may have functioned as a non-guild artisan, taking advantage of a monastery artist’s immunity. He often collaborated with numerous artists employed by the monks: carpenters, painters and sculptors, working on both monastic commissions and those outside monastic patronage, which he took on increasingly as time went by. He was one of those artists who carefully watched their competitors, modifying the formal language of his works. Combining his own, traditional education with solutions he observed in the work of younger artists, he adopted forms characteristic of mature Baroque art, as a result of which he was able to stay on the market for as long as five decades.

Ołtarz św. Marii Magdaleny w kolegiacie głogowskiej – historia i próba rekonstrukcji

Author(s): Dariusz Galewski,Jakub Szajt / Language(s): Polish Publication Year: 0

The altar of St. Mary Magdalene was funded by the Głogów canon Gottfried Jakob Urban Schönborn around 1697, as is suggested by the text of an ecclesiastical visitation document. It was located in the Collegiate Chapel of St. Mary Magdalene until 1945, when it was destroyed during the war. Its surviving elements were placed in the church after the war, encouraging attempts to reconstruct the work, using its existing remains. The altar was made of grey Silesian marble from Przeworno and white marble, probably from Supíkovice. Below the altar stone was a socle with an oval cartouche, flanked by two pedestals on which stood statues of James the Elder and St. Urban the pope. Between them a rectangular framework with a semicircular ending held a low relief depicting penitent Mary Magdalene kneeling at the entrance to a grotto, holding a cross in her right hand and leaning her left hand on a skull. The composition was framed by volutes with protruding acanthus leaves on which sat putto figures holding the founder’s coat of arms; above there was a sculpture representing St. Godfrey of Cappenberg. A cartouche placed before the altar stone held an inscription commemorating the founder. The iconography of the reredos highlighted the idea of conversion and penitence, as is evidenced by the representation of Mary Magdalene, who placed all her hopes for absolution of her sins in the cross. What was also important was her special role of intercession expressed in the cartouche. The form of the altar is without architectural elements, which in the late 17th and early 18th century was rare in Silesia. The Głogów reredos can be compared only to the 1694 altar of the Holy Family in the Chapel of St. Ivo and Holy Family in the Church of Our Lady on the Sand Island in Wrocław. The author of the Głogów piece is not known – he may have been a member of the workshop or collaborator of another sculptor who came, hypothetically, from the Southern Netherlands, and made the pulpit in the Collegiate Church according to models characteristic of Flanders.

Tu es Petrus… Ambona z kolegiaty w Głogowie. Jej dzieje, ikonografia i geneza artystyczna

Author(s): Jacek Witkowski,Jakub Szajt / Language(s): Polish Publication Year: 0

The pulpit from the Collegiate Church of the Virgin Mary was funded in 1697, where it was to be found until 1945, when it was seriously damaged during the war. Its surviving elements are on display today in the Collegiate Church and the local museum. The pulpit has not been studied extensively despite its high artistic value – the first man to note its visual qualities was an anonymous author of a visitation document drawn up between 1706 and 1711. The pulpit was made of white marble from Supíkovice and grey marble from Przeworno as well as white painted wood. Grey marble was used to make structural elements and some decorations. Its ideological concept can be found in an inscription placed on the backrest and quoting Christ’s words addressed to St. Peter (Matthew 16:18): “You are Peter (Rock) and on this rock I will build my Church.” The words became the theological and legal basis of the primacy of St. Peter and his papal successors in the universal Church. This was splendidly expressed by the sculptor of the Głogów pulpit, showing Peter as a high priest wearing an ancient-style garments – a tunic and a loose toga. The front of the pulpit featured an expressive carved scene of the Conversion of St. Paul. It conforms to the iconographic tradition, well-established since the Middle Ages and based on an account of the event to be found in the Acts of the Apostles (Acts 9:3-6). Over the lintel with the date of the foundation, there was placed a double cartouche with the coats of arms of the founders of the pulpit. An oval relief with the Annunciation scene was a reference to the Marian dedication of the Collegiate Church in Głogów. The adjacent medallion is filled with the coat of arms of a cleric from the Silesian family of von Lohr, who may have contributed to the foundation of the pulpit. The whole was crowned with a carved wooden group representing Christ surrounded by radiant glory and angels. The Głogów pulpit is the second known Catholic pulpit in Silesia with a figural support. Despite some references to the Silesian tradition, in its artistic and formal origins it is primarily Netherlandish, more specifically Flemish. What is typical of Netherlandising art is the very material – dark marble in the structural parts and contrasting white marble in the figural decorations. Like in their Netherlandish counterparts, the Głogów artists used local stone deposits. Such double colouring of marble is very characteristic of stone sculptures of the Baroque era in Belgium and Holland, where its tradition goes back to Gothic art. Thus the work may have been created by a Flemish artist or a sculptor well familiar with Flemish models – at the current state of research his name is still unknown, as is that of the main founder of the pulpit.

Lubiąż i Świdnica – dwie koncepcje barokizacji śląskich wnętrz sakralnych w 2. połowie XVII wieku

Author(s): Paweł Migasiewicz / Language(s): Polish Publication Year: 0

Among the examples of baroquisation of church interiors in Silesia carried out or at least begun in the second half of the 17th century two stand out: the Cistercian Church in Lubiąż and the Jesuit Church in Świdnica. What they have in common is not just substantial scale, high artistic quality and use of numerous solutions previously unknown in Silesia, but, above all, French inspirations, which were rare in Habsburg lands in the 17th century and which reached Silesia via different routes. The furnishings of the Lubiąż church, preserved on site until the Second World War, was made in several stages, from the end of the tenure of Abbot Arnold Freiberger (1636–1672), through, largely, the tenure of Abbot Johannes Reich (1672–1691) and his successors in the 1690s and at the beginning of the following century. Initially, the main artist in charge of the project was Matthäus Knote, followed by Matthias Steinl – a designer and head of the workshop that produced most of the furnishings. Despite many novel solutions making the Lubiąż furnishings original and in some elements even “avant-garde” in stylistic terms, the very concept of baroquisation of the Lubiąż church is, as a whole, traditional. Although the furnishings do make up a regular, symmetrical composition, each of these “pieces of furniture” is an autonomous unit. By comparison, the other baroquisation, in the Jesuit Church, appears unique. It was carried out according to a design by the order’s sculptor Johann Riedel, who reached France during his study travel and learned many solutions used in that country. He came up with a concept according to which uniform furnishings for a vast majority of the interior were made in the 1690s and the first two decades of the following century. Unlike those of Lubiąż, the Świdnica furnishings draw on groundbreaking French solutions, which Riedel got to know in person, of the so-called décor extensif – with the main altar being linked to side altars by means of panelling, making up an extensive structure encompassing and organising the interior and giving it a Baroque character. This novel solution in Central Europe remained the only one of its kind in Silesia and was not imitated.

Marmury dolnośląskie. Zarys dziejów wydobycia i artystycznego wykorzystania w kamieniarstwie i rzeźbie w epoce nowożytnej na Śląsku i w Rzeczypospolitej

Author(s): Michał Wardzyński / Language(s): Polish Publication Year: 0

The most important deposits of hard metamorphic rock from Upper Proterozoic (1 billion–635 million years ago) – whiteish and greyish veined marble with various degrees of graphite (less often biotite) – can be found in Lower Silesia near Konradów Wielki (Gross Kuntzendorf) and Supíkovice (Saubsdorf) in the Jesenik District as well as Przeworno (Prieborn) near Strzelin. From the early 13th century these villages belonged to the Bishops of Wrocław’s Duchy of Grodków and Nysa. The marble began to be quarried and used for artistic purposes as early as the turn of the 14th century, but the height of its popularity came only in the second half of the 16th, 17th and 18th centuries, when it became, alongside the local varieties of sandstone, the basic material used in sculpture and stonework in Nysa and from the last quarter of the 17th century – in Wrocław and, more broadly, Lower Silesia. After 1700 it was also exported to the neighbouring Polish-Lithuanian Commonwealth, e.g. its central province of Wielkopolska with the city of Poznań, and the Upper Silesia-Małopolska borderland with Jasna Góra near Częstochowa. Around 600 woks made of the marble in question have survived to this day. The whiteish-grey combination of marble, strikingly similar to the tandem of such rocks from Carrara (varieties of marmo bianco di Carrara and Bardiglio in figural, ornamental and architectural elements respectively) used in Tuscany, and in the Spanish Netherlands and Holland (Noir Belge and Noir de Dinant limestone with Carrara marble, alabaster or Cretaceous limestone from Avesnes-le-Sec according to an identical pattern) became a characteristic of the oeuvres of the most important masters of mature and late Silesian Baroque and Rococo styles: Sulpicius Gode, Johann Adam Karinger, Johann Albrecht Siegwitz and Franz Joseph Mangoldt. Direct models to be followed were provided in Wrocław by imported decorations of the cathedral Chapel of St. Elisabeth and the Electoral Chapel, in which the main material for figural sculptures was marble from Carrara (Domenico Guidi and Ercole Ferrata, from 1700) and Laas / Lasa in Tirol (Ferdinand Maximilian Brokoff, 1721–1722). In the most prestigious figural works the medium grained rock from Kondradów and Supíkovice was replaced with Thuringian alabaster or stucco, or even white painted limewood, which made it possible to achieve more intricate effects in sculptures. This unique regional material tradition continued beyond 1800.

SEMANTICA ŞI STRUCTURA COMUNICAȚIONALĂ A LIMBAJULUI VIZUAL

Author(s): Mirela Ștefănescu / Language(s): Romanian Publication Year: 0

The article analyzes how the meaning and composition of visual language elements, the establishing a system of relationships between them, combined with the experiences, ingenuity and personality of the artist it creates communicative representations loaded with strong aesthetic and emotional meanings. The artist, depending on his own style and his expressive intention, chooses during the creation process his type and number of technical variations in order to be able to render aesthetic, significant and intelligible emotions. The visual communication is achieved through the elements of visual language, with the plurality of combination and interpretation possibilities, so that by using metaphors and symbols, and inventive ways of conveying the message, through the particularity of compositional solutions and techniques the artwork comes to light. We will exemplify this analysis through artistic representations which highlights the creativity of artists by expressing a system of interconnection between the visual language elements.

JEAN-PHILIPPE RAMEAU: SCIENTIFIC THINKER AND WELL-ROUNDED MUSICIAN

Author(s): Rossella Marisi / Language(s): English Publication Year: 0

Jean-Philippe Rameau is today best known for his endeavours as a composer for the harpsichord, but in eighteenth-century France he was considered a real genius, due to the variety of his interests in acoustics, music theory, music pedagogy, and his success as a composer of diverse music genres. This study aims to highlight the connections between some works he authored over a fifteen-year period: on the one hand, Rameau’s treatises expressing his scientific thought, such as Traité, Nouveau système, and Génération harmonique, and, on the other, his musical works reflecting his music aesthetics, such as the Piéces de clavecin and the opera Castor et Pollux.

FACTORI CE DETERMINĂ EFICIENȚA ÎN PERFORMANȚA UNUI ACTOR PROFESIONIST

Author(s): Gianina Eliza Burghelea / Language(s): Romanian Publication Year: 0

The theatrical art, elaborated in a special way, has brought a very significant and rich psychological experience that was assembled in the pedagogy of the acting formation, in the memories and mentions of the theater people. All the emotions and emotional expressions that refer to the actor's art are reflected from a psychological point of view, with the terms that refer to the actions that highlight the self-knowledge and the mastery of the soul’s moods. The actor, like the conscious ego, identifies with his characters insofar as he adheres to them both emotionally and mentally, but at the same time "observes", that he is "someone different" from them; he is the eyewitness of what is happening at that moment. (Erving Goffman)

DINASTIILE DE MUZICIENI DIN REPUBLICA MOLDOVA

Author(s): Aurelia Simion / Language(s): Romanian Publication Year: 0

Although the meaning of the word dynasty refers to a family whose members "inherit the succession to the leadership of a state" (DEX), the second explanation is "a succession of personalities of the same family." In this case I would make a difference between dynasty, whose members succeed each other for at least three generations and families whose members are brothers, parents and children, uncles and grandchildren, cousins, etc., so they are part of the same generation or two respectively. Many families of musicians are known in the history of music whose contribution through their talent, mastery and devotion occupies an important place in the evolution of the art of sounds such as: Couperin, Bach, Hartmann, Stamitz, Kozeluch, Strauss etc. In Romania there are known families of musicians such as Caudella, Dumitrescu, Mandisevschi, Burada, Wachmann, Gheorghiu, etc. In the Republic of Moldova, through the personal contribution to the composition and performing arts, the Neaga, Bivol, Rusnac, Buinovschi families stood out. The purpose of this article is to provide an overview of the members of the Caftanat, Pocitari, Botgos, Ștefaneț, Advahov dynasties, to note the plurivalence and main features of their art activity and to analyze the similarities and differences between families, while synthesizing the information obtained. The text will contain brief biographical details about each one, the focus being, however, on the important achievements of the most representative members.

Entre vivre et survivre, la rencontre “d’Hiroshima mon amour”

Author(s): Valérie Cavallo / Language(s): French Publication Year: 0

Written by Marguerite Duras and directed by Alain Resnais, the movie “Hiroshima mon amour” (1959) is set in the immediate post-war period, precisely in the Japanese city destroyed by the first nuclear bombardment, while life is trying to begin again. Considering the immense wounds inflicted on the anonymous people of all nations during the Second World War, the scenario proposes to oppose this unprecedented catastrophe with a romantic encounter, in which the authors attempt to identify the irreducibility of affects and feelings, as a condition for renewing the living of a fractured humanity that is more sensitive than ever.

За стилистиката на славяноезичното църковно пеене на Балканите (по музикално-писмени извори от XIV–XVIII в.)

Author(s): Elena Toncheva / Language(s): Bulgarian Publication Year: 0

Ars moriendi

Author(s): Elka Bakalova / Language(s): Bulgarian Publication Year: 0

Една непубликувана икона „Христос Цар на царете и Велик архиерей“

Author(s): Ralitsa Lozanova / Language(s): Bulgarian Publication Year: 0

Иконата „Молебное пение ко Пресвятой Богородице“ в Националната художествена галерия

Author(s): Elena Popova / Language(s): Bulgarian Publication Year: 0

„Българският“ св. Георги Нови Янински

Author(s): Ivanka Gergova / Language(s): Bulgarian Publication Year: 0

Темата „Покров Богородичен“ в живописта на самоковските зографи

Author(s): Elena Genova / Language(s): Bulgarian Publication Year: 0