Carl i Karin Larsson – twórcy szwedzkiego „domu idealnego”?

Author(s): Emiliana Konopka / Language(s): Polish Issue: 3/2019

In 1888, two Swedish painters, Carl Larsson and Karin Larsson, moved to the mansion Lilla Hyttnäs in Sundborn (Dalarna, Sweden). This summer house became an ideal place for a big family with eight children, but was also a complex work of art which astonishes by its fantasy and uniqueness even today. These radiant rooms full of joy and love were depicted by Carl in his watercolours but can be visited in the museum founded after the death of the householders.The Larssons’ style was an inspiration for Scandinavian interior design and built an image of the “ideal home”, mostly by illustrated albums with commentaries by Carl. By analyzing the story of the house, with its various inspirations and ideas, some links to contemporary Swed-ish furniture companies and the Social Democrats’ concept of F o l k h e m m e t and l a g o mare given

Activitatea Comisiei de Pictură Bisericească - o lucrare misionară de promovare a iconografiei Ortodoxe

Author(s): His Beatitude Daniel Patriarch of Romania / Language(s): English,Romanian Issue: 1/2021

On 1 February 2021, „Conventus” Hall - the Palace of the Patriarchate, hosted the constitutive meeting of the Church Painting Commission, for the 2021- 2024 term. The meeting was chaired by His Beatitude Daniel, Patriarch of the Romanian Orthodox Church, whose address emphasized the importance of the Church Painting Commission of the Romanian Patriarchate for the missionary work promoting Orthodox iconography: „The Church Painting Commission supervises, oversees and monitors the implementation of church’s statutary rules and regulations, of the decisions passed by central church bodies and by the Patriarch of Romania, concerning the preservation of the unitary character in dogmatic, artistic and execution matters, for the sacred art works produced in the Romanian Orthodox Church... The Church Painting Commission is now called, for the duration of this term – in its capacity as most competent central consultative body, in matters of church art, on the territory of the Romanian Patriarchate –, to respond promptly to the urgent needs arising over the last few years in the realm of church painting and restoration. We deem it necessary for the Commission to draft, with the support of recognized experts in our country, an Iconographic Guidebook and a Set of norms for the restoration of the church patrimony items used for religious services (art components and items of movable patrimony)”. His Beatitude Patriarch Daniel offered a number of recommendations on the structure of the future Iconographic Guidebook : „It will have to render, from an interdisciplinary perspective (historical, theological, and artistic) the main themes of Orthodox church paintings, including a number of sections, richly illustrated where needed, each of them accompanied by a comprehensive, updated bibliography”. Romania’s Patriarch also offered a number of ideas on the Set of norms for the restoration of the church patrimony: „These Norms will pursue the outlining and implementation of basic principles and practical rules, intended on the one hand to prevent the distortion of the original aspect of the pictorial ensemble, and on the other hand to enable it to perform its liturgical-dogmatic function, avoiding the transformation of the community liturgical space into a mere museum collection of items”, stated the Patriarch of the Romanian Orthodox Church.

ГОЛОСОВЕ ВІБРАТО В ІНТЕРПРЕТАЦІЇ ВОКАЛЬНОЇ МУЗИКИ ДОБИ БАРОКО

Author(s): Olga Tabulina / Language(s): Ukrainian Issue: 40/2021

The purpose of the article. The article examines an important component of the performance of baroque works – vocal vibrato, which often becomes an obstacle to the historically informed performance. A scholarly work that draws on a historical context outlines guidelines regarding the appropriateness of the use of vibrato. The methodology is based on the application of observation, generalization, modeling, and analysis using the historical and logical method. The indicated approach allows us to consider, generalize and summarize information about vocal vibrato, which can be useful both for students and teachers of academic singing and for performers who are looking for answers to questions regarding mastering baroque vocal forms and techniques. The scientific novelty consists in the fact that the data on the vocal vibrato is systematized and analyzed based on historical sources, research by leading foreign art historians, as well as on recordings of ancient works. Highlighted important questions concerning the appropriateness of using vibrato in baroque music. Conclusions. When mastering the vocal techniques for performing musical works of the Baroque era, vibrato issues occupy one of the main places. The use or limitation of this characteristic of the voice must be considered from the point of view of the historical context of the works performed, as well as their content. In addition to highlevel technical training, the intellectual qualities, the ability to think analytically, erudition, and musical taste of the performer play an important role.

ТВОРЧІ ВИМІРИ МИТЦІВ ДНІПРОВСЬКОГО АНДЕҐРАУНДУ ВОЛОДИМИРА БУБЛИКА ТА АНАТОЛІЯ СОЛОГУБА

Author(s): Volodymyr Malikov / Language(s): Ukrainian Issue: 2/2021

The purpose of the article is to analyze the creative layer of the little-known Dnipro underground representatives in Ukrainian art criticism Volodymyr Bublyk (1950–2007) and Anatolii Solohub (1953–2014). As the methodology of scientific research was used an art history analysis based on the complex systematization, comparison, and generalization. The scientific novelty is in the introduction into scientific circulation of a significant part of the graphic heritage of Volodymyr Bublyk and Anatolii Solohub in the Dnipro region underground context of the 1980 s – 2000 s. Conclusions. An analysis of Volodymyr Bublyk and Anatolii Solohub’s work reveals a number of important aspects for characterizing the Dnipro “art of resistance”. The latter was formed in the conditions of a “closed” city, the impossibility of official exhibiting due to an alienated attitude towards the dominant ideology in the artistic process of that time. For many artists, these factors often became the cause of the existential catastrophe of every creative person. With contemporaries-brothers Volodymyr Loboda (1943), Serhii Aliev-Kovyka (1956), Oleksandr Nemiatyi (1954), the above-mentioned masters were related by the chosen format of radicalism, which was truly underground. However, the methods of creative communication of each person differed depending on the acquired life experience, the available body of knowledge, and personal temperament. The paintings of Volodymyr Bubluk combine the expression of images in a coloristic system that goes back to the aesthetics of the Fauves. A similar stylistic model of the master's painting can be delineated by the category of intuitive expressionism. The works of Anatolii Solohub are closely related to the folk tradition in their subject matter. The inner tension of his compositions, combined with unrestrained dynamics, strives for visual communication with the viewer.

Rückgabe des beschlagnahmten Bibliotheksgutes – argumentacja Gustava Abba i stanowisko Kajetana Mühlmanna. Epizod z dziejów polskich zbiorów artystycznych w okresie II wojny światowej

Author(s): Tadeusz Zadrożny / Language(s): Polish Issue: 4/2021

Towards the end of November 1941, a discussion took place between Gustav Abb, head of the Main Board of Libraries in the General Government, and Kajetan Mühlmann, the Special Plenipotentiary for the Safeguarding of Works of Art and Cultural Heritage, about the possible transfer to the Staatsbibliothek of library objects „secured by Mühlmann’s office. The report on this confrontation perfectly illustrates the duality of attitudes of the GG officers towards goods confiscated in occupied Polish territories by order and on behalf of the German authorities, as well as their proficiency in adapting legal arguments which, while in contravention of international law, were favourable to Germany, in this case to the concept of debellatio.

Problem autorstwa i projektów kościoła jezuitów (obecnie kolegiaty farnej) w Poznaniu

Author(s): Andrzej Kusztelski / Language(s): Polish Issue: 4/2021

The complex history of the raising of the old Jesuit Church in Poznan is discussed. Despite the research into that important piece of architecture continued since the 1920s and 30s, the identification of respective stages of the raising of the Church and the authorship of the genuine design have remained debatable. The paper's goal is a critical analysis of the first design of the Jesuit Church in Poznan and its authorship, as well as of the later designs of the Church and their authors. The Church's first design may have been a model one, worked out in Rome, whose modifications and adaptation to the local conditions were conducted by the famous Cracow mason Tomasso Poncino; the latter, most likely owing to the mistakes made when the foundations were laid, was banned from continuing the works, and replaced by the Order's mason Wojciech Przybykowicz who ran the raising of the Church. An essential turn in the history of the Jesuit fabrica ecclesiae occurred when Bartlomiej Nataniel Wasowski became Vice-chancellor of the Poznan College; apt at maths, a theoretician of architecture, he had his avant-garde designs based on the studies of Rome's architecture implemented by the mason Wojciech Abramowicz. Having become the prefect of the fabrica ecclesiae, after Wasowski's death (d. 1687), he independently managed the construction works. Its final shape was given to the Jesuit Church by Jan Catenazzi. The testimony to the changes occurring in the course of the almost 80-years’construction process is found in designs preserved in the National Library in Paris and in the Archives of the Society of Jesus in Rome.

Стела XVI в. из с. Кумух — высокохудожественное произведение исламского искусства

Author(s): M.M. Mammaev / Language(s): Russian Issue: 13/2021

The article examines the features of decorative decoration of the tombstone of the beginning of the 16th century from the village of Kumukh (Lak district, Republic of Dagestan). Earlier this stele drew attention of art critics, historians, epigraphists, but as the monument of stone-cutting art and highly artistic work of Islamic art not studied in detail. Proceeding from a skillful carving of the stele, the accurate, clear, well thought decor composition, calligraphic Arab inscriptions in a harmonious combination with a vegetable ornament, the author considers it as highly artistic work of medieval stone-cutting art of Dagestan. The author admits the possibility of dating the stele a little earlier than previous researchers, namely the beginning of the 16th c. taking into account the features of its artistic. Judging by the size, decoration of the stele and epitaph, it can be believed that the buried man had a high lifetime social status and died as a martyr (Arab. shahid al-sa'id) in the battle during the military confrontation between the Ghazi-Kumukh shamkhals and Kabarda princes.

Warszawskie dzieło architektury à la française. Dzieje budowy i geneza fasady kościoła karmelitów bosych

Author(s): Paweł Migasiewicz,Jakub Sito / Language(s): Polish Issue: 4/2021

The sumptuous exquisite stone façade of the Church of the Discalced Carmelites in Warsaw was raised in 1761/1762-1779 after the design of Ephraim Schröger (1727-1783). Its architecture with columns and pilasters: rational, moderate, albeit rich in detail, is close to the traditional column façades created in France for churches and secular structures from the first half of the 16th century until the second half of the 18th century. The majority of authors discussing it, as if leaving aside its rooting in this tradition, regarded it to be a leading example of the Warsaw variant of NeoClassicism gaining its shape in the 1760s as a new stylistic proposal. On the other hand, it was admitted that when designing the Carmelite Church façade, Schröger had applied the model from one or several contemporary French prints (mainly by Blondel). Neither of the stands is correct. Neo-Classicism present in the Warsaw façade was a new style only within the Polish architecture, not the French one where it had been present from Serlio and Lescot’s times. On the other hand, it would be an excessive simplification to reduce the impact of the French tradition in Schröger to the inspiration drawn only from prints. The paper’s Authors demonstrate that the discussed illustrious Warsaw architect was perfectly familiar with that tradition, possibly much better than any other Polish architect of his generation, and almost as well as French architects were. It may be supposed that he visited France already in the 1750s, where he was educated many years before his famous trip to Western Europe financed by King Stanislaus Augustus in 1766.

Elegancja w służbie władzy. Polityka i propaganda na europejskich wachlarzach epoki nowożytnej

Author(s): Jolanta Różalska / Language(s): Polish Issue: 3/2021

The use of fans for political propaganda in the modern era was connected with social transformations and the spread of printing technology, as well as the development of reproductions. It is fans manufactured in England and France in the 17th and 18th centuries that are discussed in the paper. In the France of Louis XIV propaganda messages placed on hand-painted fan mounts were addressed to the elites, since they formed a social group of impact. At the threshold of the Enlightenment production was started of cheap paper-mounted objects of wide reach, with printed decoration repeatable in many copies. The clients commissioning fans wanted to reach a wide circle of recipients, who in the face of the egalitarianism being born at the time were having an increasingly growing impact on politics and social life. The overview of political iconographic motifs allows to trace the artistic route which fan producers covered. It also illustrates the evolution of human mentality and awareness: from the apotheosis of absolute royal power to promoting democratic ideas. Moreover, it shows how the circle of the addressees of political propaganda changed.

Późnobarokowy wystrój i wyposażenie lwowskich kościołów trynitarzy

Author(s): Mirosława Sobczyńska-Szczepańska / Language(s): Polish Issue: 1/2021

Both Lviv churches of the Trinitarians: of the Holy Trinity and of St Nicholas were given high-quality artistic Late Baroque décor and furnishing which have for long incited scholars interest. In the works conducted in 1750-1758 in the first of the churches Katarzyna Brzezina identified the participation of e.g. Stanisław Stroiński, Johann Georg Pinsel, and Bernard Meretyn. The previously unused source information demonstrates that they played a key role in the project, conducting the first in Lviv complex transformation of a church interior in the Rococo spirit. Its results have not survived, contrary to the stucco decoration and furnishing of the Church of St Nicholas executed mainly in the 1740s and 70s. A thorough analysis of their form and of written sources has allowed to verify contradictory attributions and datings, abounding in the literature on the subject.

Nieznane-zaginione i zapomniane rzeźby gotyckie z Wielkopolski

Author(s): Adam Soćko / Language(s): Polish Issue: 1/2021

War losses in Gothic sculpture in Greater Poland are discussed. Two collections of old photographs the Author gained access to in 2013 are analysed. One of them documents historic sculptures from different regions in Poland, however mainly from the country’s north. The second collection is predominantly a testimony to Gothic sculptures from Greater Poland from before WW II. In both sets 20 presentations of lost or irretrievably damaged, yet previously unknown in their appearance, Gothic sculptures have found and identified. The first collection of photographs was amassed immediately following WW II by Aleksandra Świechowska, while the latter was created by Alfred Brosig (d. 1940) who himself photographed the historic pieces. The controversy over taking photos of historic monuments, which took place in 1936 in the course of the exhibition Greater Poland’s Gothic Fine Arts between its authors: Poznan University students, and Alfred Brosig documenting the historic art pieces brought for the exhibition is discussed. That was the occasion when the most precious segment of Brosig’s collection was created. Both sets of photographs are of high documentary value, and the circumstances of their discovering are described.

Pierwsza siedziba Sejmu II Rzeczypospolitej. Addenda et corrigenda

Author(s): Małgorzata Omilanowska / Language(s): Polish Issue: 1/2021

At the point of Poland regaining independence Warsaw could not boast edifices that were able to satisfy the needs of a state’s capital. The decision was made for the raising of a new set of buildings to be postponed, while the Parliament would be temporarily housed in an adapted building. The 19th-century school complex of the Alexandrian-Mariinsky Institute (formerly Nobility Institute) was selected for the purpose. The focus in the paper is on the history of this edifice, the history of its raising, extension, and adaptation for the needs of the Sejm (Parliament’s lower house) after the design of Kazimierz Tołłoczko, Romuald Miller, and Tadeusz Szanior (1918–1919), and subsequently for those of the Senate as designed by Stanisław Miecznikowski in 1928; attention is also paid to the history of competitions and designed, albeit unaccomplished extensions of the complex in the inter-war period.

Sytuacja się zmieniła. O sztuce współczesnej w Europie Środkowo-Wschodniej inaczej

Author(s): Marek Maksymczak / Language(s): Polish Issue: 1/2021

Review of: Andrzej Szczerski, Transformacja. Sztuka w Europie Środkowo-Wschodniej po 1989 roku. Kraków: Wydawnictwo UJ, 2018.

Msza h-moll BWV 232 Jana Sebastiana Bacha w świetle estetyki teologicznej Hansa Ursa von Balthasara

Author(s): Andrzej Krawiec / Language(s): Polish Issue: 57/2021

In the first part of his magnum opus Hans Urs von Balthasar presents his project of theological aesthetics where the experience of art becomes an entrance to a religious act and an ennobling way leading to the contemplation of God. Defining the essence of being human as a spiritual being directed towards God bears a deep ethical meaning in this consideration. H.U. von Balthasar’s reflection over the religious dimension of the essence of art is shaped within theology but at the same time in the opposition to aesthetic theology which is described as ‘aesthetisation’ of the Mystery of Revelation. The art of music occupies a particular place in this reflection. For this reason Mass in B Minor BWV 232 by Johann Sebastian Bach, which is an emblematic example of the revelation of the glory of the Lord (Herrlichkeit), will be analysed not only from the perspective of philosophical or musicological aesthetics, but also theological aesthetics. This article outlines characteristic features of theological aesthetics specifically developed from traditional philosophical aesthetics whose range was extended by the human being’s relation to God.

The Idea of an ‘Icon in Sound’ in the Works of John Tavener

Author(s): Joanna Miklaszewska / Language(s): English Issue: 57/2021

The aim of this article is to present an innovative concept of the ‘icon in sound’ created by the English composer John Tavener. The first part of the article presents the intermedial and intertextual features of Tavener’s work, the second shows the genesis of the concept of ‘icon in sound’, to which three factors have contributed: 1) the composer’s interest in religious topics in his pieces, 2) the composer’s conversion to Orthodoxy, 3) collaboration with Mother Tekla, the author of the texts of many Tavener’s works. The last, third part of the article describes issues related to the formal structure and musical symbolism present in Tavener’s musical icons. The composer refers to painted icons by composing works characterised by static form and the expression of spirituality, mysticism and inner peace. These features result from the juxtaposing of melismatic structures, inspired by Byzantine music, with repetitive technique and dynamics often characterised by a low intensity. One characteristic of Tavener’s sound icons is a ‘luminous’ sound, achieved through the use of high registers of voices and instruments, which are combined with contemplative and lyrical expression. An important feature of John Tavener’s musical icons was the introduction of archaic elements, resulting primarily from the inspiration that the composer drew from the musical culture of the Orthodox Church (eg the use of Byzantine scales in Mary of Egypt, the introduction of instruments such as simantron in Mary of Egypt).

Kazalište (poratnog) pamćenja

Author(s): Lada Čale Feldman / Language(s): Croatian Issue: 1-2/2021

Review of: Snježana Banović, Kazalište za narod: Hrvatsko narodno kazalište u Zagrebu 1945-1955. Zagreb: Fraktura. 2020. 833 str. Reviewed by: Lada Čale Feldman.

Kunstkritik und Sezession

Author(s): Endre Hárs / Language(s): German Issue: 30/2021

The review of: Ilona Sármány-Parsons: Bécs müvészeti élete Ferenc József korában, ahogy Hevesi Lajos látta [Wiens Kunstleben in der Epoche Franz Josephs, wie Ludwig Hevesi es gesehen hat]. Budapest: Balassi Kiadó 2019, 472 S.

Antička tragedija na sceni profesionalnog kazališta na razmeđu milenijuma

Author(s): Jasmina Čelebić,Damir Altumbabić,Srđan Vukadinović / Language(s): Bosnian Issue: 3-4/2021

When it comes to the Tuzla theater scene and the ancient tragedy, that is, the tragedy based on ancient motives, there is no enviable historical material, for several reasons. The primary thing is that in the entire theatrical tradition of Tuzla, for which it is known, a very small number of tragedies based on ancient motifs were performed, only ten plays in the period from 1949-2011. years. In addition to the stated “scarcity” in the very setting of tragedies with ancient motifs, there is also a “scarcity” when it comes to historical and critical material. Lack of notes, criticism, all reduced to mere announcements or newspaper reviews of plays. Even if the Tuzla theater scene has a rich theatrical tradition, it is mostly dominated by comedies and dramas. In the work on ancient tragedies on the stage of professional theater, plays with the mentioned theme were analyzed, which were performed on the stage of the Tuzla National Theater. The engagement of dramatic texts created from the pen of Greek tragedies is also manifested in the stagings that were made at the turn of the millennium.

Obrazová příloha I

Author(s): No name Anonymous / Language(s): Czech Issue: 53/2021

From Ideals to Ideology— Two Contrasting Views оf Architectural Discourse аt the 1937 Paris Exposition

Author(s): Lynn Maurice Ferguson Arnold / Language(s): English Issue: 3/2021

If language is a word that describes a toolkit of communication, then architecture and associated design may be considered their own languages, which communicate the purposes, permissions, and boundaries of the socio-political contexts from which they arose. Such languages of architecture and design will have their own “grammatical” tools and discourse styles, with consequent differences of meaning between them. This paper considers the differences in architectural and design discourse styles expressed by two totalitarian states at the 1937 Paris International Exposition. Such expositions were traditionally places where liberal democratic ideals of free trade and discourse were extolled. The Soviet Union and Nazi Germany confronted such ideals through ideology in that forum. However, while each of them communicated a totalitarian language of purposes, permissions, and boundaries, there were essential differences in the styles of discourse represented by the architecture and design of their respective pavilions. Indeed, they were polar opposites of each other and the liberal ideals they contested.