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The work describes the evolution of cultural and social conditions in the Slovak territory, respectively, in Upper Hungary, in the possible establishment of a public institution collecting exclusively artistic material. The example of the development of art associations and local museums offers a view of this situation through particular historical periods, more precisely from the middle of the nineteenth century to the gallery’s founding in 1948. However, the purpose of the work is not only to outline the social discourse on the possibility of establishing a regional gallery or a public art museum. In addition to concrete examples and evidence of this debate, the work also offers insight into the political orientation of individual institutions that could have been potential players during this development. The work points to a complicated tangle of individual opinions, values and beliefs
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The first official edition of the anatomy of the human body, intended for artists, appeared in Paris in 1668. Its author is the French artist and engraver François Tortebat (1616–1690). It was intended to be used for teaching anatomy to artists 20 years earlier, in 1648, at the Académie royale de peinture et de sculpture. The text is very little and the illustrations are copies of those from Andreas Vesalius’ groundbreaking work 𝐷𝑒 𝐻𝑢𝑚𝑎𝑛𝑖 𝐶𝑜𝑟𝑝𝑜𝑟𝑖𝑠 𝐹𝑎𝑏𝑟𝑖𝑐𝑎. François Tortebat’s 𝐴𝑏𝑟é𝑔é 𝑑’𝑎𝑛𝑎𝑡𝑜𝑚𝑖𝑒, 𝑎𝑐𝑐𝑜𝑚𝑚𝑜𝑑é 𝑎𝑢𝑥 𝑎𝑟𝑡𝑠 𝑑𝑒 𝑝𝑒𝑖𝑛𝑡𝑢𝑟𝑒 𝑒𝑡 𝑑𝑒 𝑠𝑐𝑢𝑙𝑝𝑡𝑢𝑟𝑒 is very popular, which is indicated by the fact that it was republished in France in 1733 and in 1760. Thus, his textbook has been used by generations of artists in their academic training in art.
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The research focuses on a group of reliquaries called taxidiot boxes. As part of the donation practice of the Balkans, they functioned as portable small altars in the church rituals of taxidiot monks during the Bulgarian National Revival. The technical processes and technological concepts in the goldsmith’s craft at that time are examined, as well as their application in the objects of ecclesiastical metalwork in Bulgaria.
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In 2022 and 2023, the author of the paper had an opportunity to conduct research at the Lithuanian Research Center in Lemont located in the suburbs of Chicago and to collect data on composers of the Lithuanian diaspora in the USA, including Jonas Švedas (1927–1981). The article discusses the process of the formation of Švedas’s composition style and the features of the musical language in the early period of his life up to 1960. After comparing the data ever published and the data collected by the author in the USA, discrepancies in the years of the creation of his works were noticed. After examining the composer’s manuscripts and reconstructing a more accurate chronology of his work, it turned out that the chronological discrepancy was due to the composer’s frequent recompositions. By tracing the process of recomposing, the article aims to reveal not only the features of Jonas Švedas’s early work, such as the influence of Bela Bartók or the technique of chromatic completion, but also the constructive decision of his composition – the decontextualization of the folk song. The manifestation of constructivism can be seen in his compositional strategy, which is significantly different from the usual adaptation of folklore used by Lithuanian composers, or the method of weaving folklore into the fabric of modern sound used by Lithuanian modernists.
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It is quite certain that the visible frescoes in the exonarthex of the Gračanica Monastery outer narthex do not come from the same period, so their chronological separation and more precise dating are complex. If it is taken into account that it was built in the early thirties of the 14th century, the outer vestibule have been painted after 1330, but those frescoes are not visible today. It was repainted later, during the time of Metropolitan Nicanor around 1530. The scene of the Baptism of Christ (Mt. 3: 13–17, Mk. 1: 9–11, Lk. 3: 21–22, Jn. 1: 29–34) belongs to the time of the Metropolitan Nicanor, and it is located on the eastern wall of the outer chancel, south of the southeastern pilaster. The iconographic analysis of this scene provides an insight into the wide theological education of the painters, as well as a sense of narrative and primarily adherence to good models from the Paleology era. The style of the Gračanica Monastery frescoes, which belong to the period around 1530, was adapted to the program based on tradition. The developed scene of the Baptism of Christ, inspired by the highest role models, emphasizes confidence in composition and performance, expert drawing and fine modelling in combination with an illuminated palette.
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What can the coded structures of psychic representation (such as the dreamwork) offer us in our understanding of the visual field? I look at how these mechanisms might be seen to operate outside of dreams, and what they might share with artistic practice. I propose to show how aspects of the oneiric process are at play in relation to a painting by Peter Paul Rubens, through a detail from another artwork long past, reappearing reconfigured in Rubens' represent. This association has other temporal implications, including art historical time through questioning the dating of previous work by Rubens, also the material mark of time, in my “making.” I suggest how the excessive nature of (my) associative artistic practice that generated this “find,” is analogous to the method of dream interpretation in psychoanalysis, and by engaging in this way, through a practice of “listening” & making a response to a work of art, I evoke unresolved affect located in the artwork and biography of Rubens.
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This text focuses on some of the first children’s books that have gained popularity in many countries around the world. The genesis of children’s literature in the Western world directly corresponds to that of children’s illustration. Their development is in parallel because they complement each other as means of expression. A few trends regarding the functions of children’s illustration that have occur with the spread of literature are outlined, as well as some social, aesthetic and other features over time.
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The collection of essays is divided into two large sections: studies on music aesthetics and book reviews on music. According to the reviewer, although the central subject of this work is music, its intellectual horizon is much broader and more inspiring than that of a musicology textbook.
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The 30th volume of the Jászság Yearbook is a worthy addition to the series, the articles published in it present the creative traditions, spirit, and heritage of the region in a rich and varied way.
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The author examines the artistic concept of “art for art’s sake” (l’art pour l’art) in its various forms: as a manifesto of a cer- tain historical era (modernism, decadence, postmodernism) or the personal attitude of individual writers and philoso- phers (Nabokov, Croce). Particular attention is paid to the inextricable relationship of form and content, as well as the idea of their structural and semantic identity. One of the key conclusions of the study is the extreme heterogeneity of the idea of “art for art’s sake”, which main postulates and foundations reveal radical, sometimes mutually exclusive differences depending on the literary trend, literary or cultural theory, as well as in the individuality of a particular writer.
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This study is an analysis of one of the most significant productions of Blahoslav Uhlár, staged in collaboration with the scenographer Miloš Karásek and the actors of the Theatre for Children and the Youth in Trnava on 30 June 1989. This was a ground-breaking production, the culmination of several years of Uhlár’s experimetal practice, and it prefigured his poetics in the avant-garde STOKA theatre, established in 1991. In Penultimate Dinner, Uhlár and Karásek made full use of their poetics of decomposition. Significantly, it was a message of the creators about the contemporaneous situation just before the so-called Velvet Revolution, by which they held a critical mirror up to the decadence of the dying totalitarian regime in communist Czechoslovakia and to the people who participated in its existence either as opportunists or as representatives of its power.
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The medieval architecture of the second most eminent church in the diocese of Cracow, the colle- giate church of the Blessed Virgin Mary in Sandomierz, which owes its Gothic appearance to the foundation of King Casimir the Great, has not yet been satisfactorily studied. The article attempts to present its architecture in relation to 14th-century structures of Central and Eastern Europe. Recent conservation work makes it possible to revise the earlier theories about the stages of the churchs construction. There are many indications that the construction of the hall nave started as early as ca. 1350, founded by King Casimir the Great, and was completed around 1370. This was followed by the upwards extension and vaulting of the rectangular choir, constructed in the second half of the 13th century. The church was consecrated in 1382 by the Bishop of Cracow, Jan of Radliczyce. In the following years, the east wall of the chancel was demolished and replaced with a polygonal apse. Each aisle of the building was originally covered by a separate gabled roof. The closest relative to the collegiate church is the hall nave of the cathedral in Olomouc and the rosette of the western façade is modelled on the window tracery from the transept of the Cistercian church in Zlatá Koruna.
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Despite its considerable size and high artistic quality, the Franciscan church in Zamoæ failed to draw any discernible attention from the experts in Polish architecture. Until now, the main focus of research was to establish the fundamental facts from its history, and some attributions were made regarding the authorship of its design. In the light of the ongoing research on early modern art, however, it seems possible to add some details to the conclusions already reached. An impulse to take up the topic was provided by the recently conducted reconstruction of the church, which had been partially demolished in the 19th century and remodelled in the 20th century. An analysis of the extant iconographic sources dating from the 19th and early 20th century makes it possible to situate the architecture of the church in a broad context of the European and Polish architectural traditions, as well as to validate its reconstruction. The Zamoæ church of the Franciscan Order was constructed in the period from 1637 to ca. 1685. Its design referred to the architecture of the late 16th – early 17th century Rome, but since the construction works were carried out by the masonry workshop of Jan Wolff, decorative elements made in mortar derive from the forms achieved in his circle. This, however, did not efface the early-Baroque look of the church – a look that had its origin in, among others, the Basilica of Saint Peter in the Vatican and the designs by Lombard architects active ca. 1600 in Rome. An analysis of the correspondence of Tomasz Zamoyski, the owner of the fee tail estate of Zamoæ and the founder of the church, and the architectural solu- tions applied in its construction permits us to assume that the church was designed by Constante Tencalla.
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The issue of patterns used by icon painters in the second half of the 19th and the early 20th century has so far won only marginal scholarly attention. It refers to the application of the pan-European canon of academicism, the influence of Western and Russian models (the latter produced in the spirit of the Latin culture and referring to a reworked native tradition), the process of adapting compositions compliant with the canon of Orthodox Church painting, and the process of borrowing from popular graphic art (both Western and Russian). Artworks from Podlachia and the Lublin Land under analysis in the current article have been categorised according to recurrent compositions. Their examination has been complemented with examples of icons from central Russia and Asia. This helped to recognise the popular patterns applied by icon painters and the methods of their dissemination by, among others, mass-produced graphic prints and photographic prints. Relevant analyses have shown that the standard production of artworks for the use of the Orthodox Church did not require the compositional arrangement to be original, and that the reception of Latin aesthetics increased regardless of the fact that the national style was forming in Russia at the time.
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The article constitutes an attempt to examine the characteristic features and the development of Italian anti- Semitism in the period of the fascist regime with special attention to the sphere of culture and to art criticism. In the first decade of the regime, the essayists of the day, with Mussolini at the fore, clearly denied that the Jewish Question existed in Italy. This changed significantly around the middle of the 1930s, and these changes were parallel to the directions in which the racist doctrine and the paradigm of fascist aesthetics were evolving at the time. Examining those changes, the author attempts to shed light on the characteristic features (the main lines of the debate, but also the applied rhetoric) of the anti-Jewish, and at the same time anti-Modernist witch-hunt launched especially in press publications edited by the charismatic Telesio Inter- landi. The article is largely based on source texts of the era and refers to areas hitherto unexplored or only fragmentarily explored in specialist literature.
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The aim of the article is to supplement the biography of Gizella Gryczyñska, until 1936 Margulies, a Polish architect of Jewish origin. An analysis of archival sources and materials from the Collec- tions of Photographs and Survey Drawings held at the Institute of Art of the Polish Academy of Sciences has made it possible to present her activity in the field of inventorying historical monu- ments. The article describes Gizella Gryczyñskas participation in the inventory-taking action conducted in the years 19331934 in Kazimierz Dolny under the aegis of the Society for the Protection of the Monuments of the Past in the framework of the governmental Labour Fund. At the same time, search queries conducted in the State Archive in Kielce and in the Student Records Division of the Warsaw University of Technology revealed a number of hitherto unknown source materials that shed new light on Gryczyñskas professional activity and personal life after the year 1936. Thus, it has been possible to present her achievements in a new perspective, taking under consideration the economic and social context of the era.
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The article concerns the exhibitions and reception of the works of the Polish-Jewish sculptor Elie Nadelman, recognised especially in the United States of America, where he lived from 1914, and in Western Europe, above all in France, where he stayed in the years 1904–1914. The point of departure for the author’s analysis is the exhibition Elie Nadelman – polski prekursor Art Déco [Elie Nadelman – the Polish Precursor of Art Déco] in the Wejman Gallery in Warsaw (2022). The Warsaw exhibition brought to attention not only the sculptor himself, but also the promoter of his work, the art critic and art dealer Adolf Basler, born in Tarnów and active in France, who played a crucial role in acquainting the Polish, French and German public with Nadelman’s art. Nadelman’s oeuvre was commented upon by other contemporary journalists as well, whose texts are also discussed in the article.
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