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The study Art and Culture of South Africa. In search of artistic identity of South Africa, as influenced by historical transformations – was conceived and written thanks to a study-stay of its author in Johannesburg, South Africa during a four year period between 2001 and 2004.
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Bilingual volume published in cooperation with the Embassy of Italy in Poland and with the Italian Institute of Culture to celebrate the centenary of the Italian-Polish diplomatic relations (1919–2019).Texts by the renowned Italian and Polish authors (translated from Italian to Polish or vice versa) are divided into two parts: “Diplomacy, economy, history” and “Art, film, literature, theatre”. Such division allows to follow the Polish-Italian bonds in different fields, from translation and performance of the Italian tragedies on the Polish stages, to cooperation with the FIAT company. There is also reflection on the Polish-Italian relations in the difficult interwar period and during the Second World War. In this context one text has exceptional significance - that of Vincenzo Mario Palmieri, Italian anatomic pathologist and a member of the international commission that examined the Katyń massacre in 1943.The volume not only for the Italophiles but also for all those interested in the history of the 20th century and in the issues of the international relations.
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WHY AN ARCHITECTURAL GUIDE? The Republic of Macedonia, having as its priority the integration of the country in the European processes (both by becoming a full member of the European Union, and also by increasing awareness about the diverse cultural heritage that we have on our soil), has started creating a great variety of promotional materials. Looking through the wide range of offers for tourist tours, assorted guides, maps, promotional materials and internet sites made us think and ask ourselves what else we could do to enrich the cultural map of Europe.Somehow instinctively, and perhaps because of the professional occupation of most of the team members (architects and historians of architecture), our conceptions were focused on the potential of our architecture as an important point of reference when defining the contribution of Macedonia to the cultural or, if you prefer, to the tourist and cultural map of Europe. During the course of the project “Towards new strategies for communicating Macedonian cultural capitol abroad”, we were proved right.Macedonia is a country with a great cultural and architectural heritage, dating from ancient times, through the middle ages and up to the present, and also from the period that bears the title of modern. Maybe such classification of the periods does not correspond, in terms of a timeline, with the European classification of historical and cultural periods, but, in our belief, this is what gives our architectural heritage a marked uniqueness and value. Macedonia, being throughout the history always at the crossroads of eastern and western cultural influences, has created and interpreted architecture and cities in its specific way. And this is something that should be offered and communicated clearly: those differences, similarities, interpretations. On the other hand, what makes it even more interesting is the great variety and depth of richness in such a small territory. This is definitely a quality that deserves recognition. In this small territory there are trails of intersections over a vast range of time, with so many valuable buildings and settlements which offer visitors the feeling of a time-machine that constantly increases the degree of excitement.An overview of the numerous travel-guide promotional materials unwittingly leaves the impression that out of the desire to put everything in, sometimes in the same place and even on the same page, one can read about a valuable monument of architecture, a place that offers the possibility to taste some really good kebabs and tips where to buy a coloured carpet. This in it self is nothing really bad, but still, there is one question that comes to mind: what type of tourist is the audience? As the representative of the City of Skopje, Mr. Igor Simjanoski standing of the significance of cities and their buildings, are particularly interested in specialised guides to the architecture of the city in addition to the more general tourist guides. If you have ever been to Vienna, Barcelona, Chicago … you must have heard about their famous architectural guides which make the exquisite heritage of these cities even more visible. Providing the opportunity to choose will attract different kind of tourists: not those who will go to see something they have heard should be seen, but those who know what they want to see and will look for it where they know they can find it. Based on what is stated above, we truly believe that, for enriching the European cultural, and tourist map, the publication of this specialised guide to the architecture of Skopje (and we hope in near future, publication of similar architectural guides of Veles, Bitola, Kruševo, Ohrid, Strumica, and why not of Probištip and Makedonska Kamenica - as new industrial towns) is more than a valuable contribution. Skopje was chosen only as an example and at the moment as a city with the most available data relevant for such a type of guide. However, what we believe should be our next priority is to seriously consider the importance of different “reading” and start to work on the valorisation of our architectural heritage over the whole territory of our country. Macedonia is blessed not only by diverse architectural heritage, but also by very distinctive urban heritage. Every settlement has some distinguishing marks and specific ways of development connected with its origins. This Guide should not be regarded as something final and closed, but more as the beginning of a process that will continue and, in time, will become even more dynamic. It does not intend to be perfect - the aim of this Guide is to initiate and stimulate the creation of new, better and more comprehensive architectural guides. This first edition of the Guide presents only a small part of the materials that we collected, and which await to be classified and valorised. But this we will leave to the experts who work on the subject. As freelancers in the civic sector we will continue with our efforts to open new questions and to stimulate debates which will contribute towards communicating and promoting our architectural heritage at home and abroad.
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Art history as a discipline is currently undergoing a remarkable period during which the traditional and new theoretical approaches to visual art are discussed. In the first section, the propaedeutic manual of methods in art history discusses the objects of art history, the question of personality of an art historian, and basic techniques in the discipline. Subsequetnly, leading figures of art historians and mainstream currents in art history in the second half of the 20th century are mentioned, focusing on latest trends in the interpretation of art and video works. An important part of the book is a treatise on the fundamental concepts of art history (style, structure, theme- symbol, function, and historic time) and an overview of the major art historical approaches, and also approaches of different disciplines and applied approaches in multidisciplinary fields. The volume is intended primarily for students of art history and follows the earlier part of the previous “Schools of art history.“
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The second volume of the Musical-Literary Dictionary deals with the Czech composers’ works which relate to literary art in some way. These relations could have the form of inspiration, but they could also be found in the idea, subject, contents or the text of a literary work. The Dictionary includes works of 891 composers reflecting the literary creation of 2203 writers that inspired them. Its contribution to Czech musical lexicographic literature consists in a new approach to the Czech musical production, in the worldwide context as well. In this senseit is new and unique. The Dictionary is intended for specialists, as well as for the general audience interested in music. Music theoreticians and employees of musical archives will appreciate the extensive list of specialist literature.
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The music-literary dictionary of world’s composers is a contribution to Czech lexicographic literature as it brings a new perspective on the world’s music. It exclusively focuses on composers who were inspired by verbal arts. Deep correspondence between music and literary work is often hidden or is considered as a mere coincidence. It is therefore praiseworthy that the author systematically emphasises and records this interconnection. The dictionary serves as a remarkably plentiful source of information for every admirer of art.
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German-language monograph on professional theatre in Brno during the baroque historical period is based on original research of so far unreflected and unpublished archival sources stored in the Brno archives. Thanks to the topic with numerous important overlaps the local history of professional theatre in Brno is included into the large context of Baroque theatre in Central Europe. The Czech edition of the book (2009) was received with enthusiasm in professional circles and superlative reviews in professional journals. The German version comes after repeated requests from foreign experts.
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This collection of selected papers is dedicated to the memory of Svetlana S. Ryabtseva (1966—2019), a very pure soul, scholar, archaeologist, leading student of the history of medieval gold-work, costume and jewelry set of Eastern and South-Eastern Europe. As both Russian and Moldovan researcher, she took a unique place in science: her stuides became a ‘bridge between East and West’, i.e. between studies of Eastern, South-Eastern and Central Europe. Her life was short, but she left a very good heritage. It consists not only of her outstanding academic writings, but also her true and positive inspiration, which emanated from her and was shared between her family, friends and colleagues. The volume contains papers written by researchers from Moldova, Russia, Ukraine, Romania, Belarus, Bulgaria, Hungary, Slovakia, Poland, France and the United Kingdom.
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The thesis aims to map the theater life in Mikulov between the period when the estate belonged to the aristocratic family of the Dietrichsteins until the beginning of the World War II. The large time span of the scope understandably, has its negatives, as it does not allow a more thorough analysis of the Piarist school theatre in Mikulov. On the other hand, it enabled greater heuristic research, the results of which are collected here and offered to the needs of further researchers interested in the history of theater in Moravia and Silesia. The most important period in the history of theater in Mikulov, which currently has a significant overlap to the development of the Central European theater, begins with the era of Cardinal Dietrichstein in the first half of the 17th century, when Mikulov became an important political and cultural-social as well as religious center of Moravia. At that time the oldest castle theater in our territory was built and simultaneously the Piarists arrived, they used the theater as an educative tool. Piarist school theater remained the main mediator in performing arts in the city until the mid-18th century. The peak of the designated period came with the reign of Leopold Josef of Dietrichstein in the turn of the 17th and 18th centuries. Archival materials revealed Leopold as a significant lover of the performing arts, who had been in touch with theater since his childhood, whether at the Jesuit college or during his own activities in the home theater. Later on, he became a supporter of professional theater companies. During his reign, there was a significant heyday of the Piarist school theater, which managed to produce three performances per year. Two synopsis of Piarists’ plays from this period involves an interesting phrase “Nickolspurgerischen Parnasso” which emphasizes the importance of the performing arts in Mikulov together with its position in the contemporary consciousness. The professional traveling theater companies also played an important role in the theatre history of Mikulov. We can trace the presence of these travelling theatre companies from the end of the Thirty Years War. Records concerning their stay in Mikulov are unfortunately very scattered. They can be traced predominantly in the accounting documents of the Dietrichstein family, which proves that their performances had a connection with entertainment of nobility. From the second half of the 18th century, we can also work with requests from the theater directors who intended to perform their plays in the bourg. The Provincial Office, which usually approved these requests, however, did not grant the permission and rather limited the theater productions in the “small” subject towns. In the 19th century, the situation changed and theater companies increasingly appeared in Mikulov. From the second half of the same century, basically every year, unless there was a war or other unfortunate events, the city was visited by theater companies regularly. The repertoire included mostly comedies, farces, magical fable or “singspiele” and later mainly operettas. The repertoire varied according to the new trends stemming mainly from the Viennese theater environment. After the First World War, when the local German population became a minority in the newly established Czechoslovak Republic, the theater companies considered also national defensive and educative role of theater and they performed the dramas of German and Austrian classics. At the beginning of the 19th century the emancipated citizens tried to take over the initiative of the cultural life in Mikulov. At that time, unfortunately, they alluded to the limited possibilities of citizens and also the problem of inadequate facilities. The townspeople could occasionally use the castle areas for musical productions. For the operation the theater it was necessary to have a place with more permanent facilities, where it would be possible to build the stage and store the coulisse and props. Since 1812, the townspeople managed to get an space for the theater in the winter riding hall, but this cooperation lasted only until 1819, when it was (based on complaints) ended by Prince Franz Josef Dietrichstein. The problem of the shortage of suitable premises for holding the cultural and especially theater events in Mikulov continued into the early 20th century. This is a paradox, especially when there had been a piarist theater in the city since 1771, unfortunately it was unused at that time. A city theater that could be used by a professional travelling society did not exist at that time, even though this idea has existed in Mikulov, at least in the second half of the 19th century. There has never arisen any “German House”, where thelocal companies could meet, as was established in the nearby and smaller Valtice and Hustopeče towns. Theater companies and associations used the halls of local inns or a town shooting gallery for their per formances. Probably the most representative theatre scene in the modern history of the town was created in 1914 at the Hotel Rose. Translated text is an initial step for further research, which should facilitate a deeper understanding of Castle Theater, processing history piarist school theater and research theater activities of Leopold Ignác Dietrichstein. The presented study is an initial step for further research, which should help to facilitate a more elaborated understanding of castle theater, processing of the history of the piarist school theater and for a research of theater activities of Leopold Ignác Dietrichstein. These three branches of the research topics, which are mutually intertwined, are currently the most important stages in the theater life of Mikulov. Finally, the research also remains open for the roots of the important theater principal Johann Georg Gettner in Mikulov, whose years spent in Mikulov are still shrouded in mystery.
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The present, seventh, volume of the series "From Queen Anne to Queen Victoria" offers profitable re-visitations of old themes, as well as explorations of new themes and problems. The volume focuses on the literature, culture, and political and social history of Britain in a period when the structures of industrial modernity were being created, and examines Britain’s imprint on the global cultural heritage, including class, gender and race-based hierarchies that persist in varying degrees into the present.
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The book "Pejzaże miasta w komiksie. Studia nad komiksem" focuses on the study of comics, where the main motif becomes the analysis of urban space. The city is a research track, but also a pretext for addressing the issues of the functioning of comics, its structure and components. The author starts with an overview of the state of comics studies. Another important part of the monograph is the preparation of tools and methods which are important in the study and analysis of comics. The book constructs and describes the research methodology, including its new elements. The final part of the work, in turn, offers examples of comics analysis in the light of the study of urban space, also employing the developed tools. The adopted research perspective allows to use the methods developed in this book to study also other, not only urban, tropes and themes in comics.
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The idea of looking at the architects operating within the cultural framework of the Habsburg Empire, embedded in this book, stems from our previous research. It has its roots in the research on Slavic peripheral narratives, conducted by the Research Group on the Slavic Cultures in the Habsburg Monarchy (http://uwhabsburgstudies.uw.edu.pl/), which has operated since 2011 at the Institute of Western and Southern Slavic Studies of the University of Warsaw. We studied the issue of peripheral attitudes towards both national narratives, created after 1861 by the Slovak, Czech and Croatian elites, and the imperial project imposed by Vienna and Budapest. Faithful to the microlevel approach, we looked at figures, spaces and social phenomena that do not fit into the stereotypical view of national historiography. (Anna Kobylińska, Maciej Falski)
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Krystiana Robb-Narbutt is one of the most inspiring and at the same time least known Polish-Jewish artists and poets of the 20th and 21st centuries. She created prints, installations and objects, as well as miniature prose and poems. She exhibited them at Kordegarda and Zachęta, among other venues. In March 1968, she was sentenced to prison for participating in protests and distributing leaflets. The subjects of her work were biography and imagination. The book contains all of Robb-Narbutt’s poems and prose deciphered from manuscripts, as well as their critical consideration. They are supplemented by the voices of literary and art critics as well as friends of the artist.
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The publication is focused on late medieval pottery products with higher aesthetical effect. The key group is represented by stove tiles, where the unifying elements of relief decoration helped to define series of motifs for stoves with specific iconographic concept, which were found in various locations. The same approach can be also used with small ceramic sculptures, aquamaniles and relief-decorated floor tiles, even though the achieved information value in these cases is much lower. Micropetrographic, XRF and other analyses helped to identify the production centres and the distribution model of these ceramic groups. 3D documentation enabled a detailed comparison of differences between individual reliefs and specific traces of manufacturing procedures. Individual chapters contain active links to the source database of analysed items and to 3D models of selected specimens from reference collections.
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This richly illustrated publication presents the history and symbolism of the emblem of the University of Warsaw. In the first part the author describes the circumstances of establishing the emblem in 1817, the ideological content expressed by the symbols considered at the time, the reasons for choosing the White Eagle as a key element of the emblem, its relations to the University seals and new signs of University identity existing after the abolition of the original emblem. The second part contains a study of an unrecognized sphragistic system of the University. The third part is a catalogue of seal matrices preserved in the University Museum.
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At the turn of the 19th and 20th centuries, interest in the person and music of Fryderyk Chopin increased, which was reflected, among others, in the celebration of the round anniversaries of his birth (1910) and death (1899). Stanisław Przybyszewski had a strong influence on the interpretation of the composer’s work. Metaphysical elements appear in some of the works of art inspired by Chopin’s music created at that time, such as the works of Wojciech Weiss, Edward Okuń, Feliks M. Wygrzywalski and in the painting "The Last Chords of Frédéric Chopin" by Józef Męcina Krzesz. By depicting composer’s last moments, the artist referred to the tradition of academic painting, contemporary artistic trends, as well as to conventional elements of funerary iconography.
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Anna Bilińska was one of the few Polish artists who exhibited and sold their works in London in the late 19th century. The article discusses her participation in exhibitions at the Royal Academy (1888, 1892) and in the pastel shows at the prestigious Grosvenor Gallery (1888, 1889, 1890). Bilińska’s pastel works (folk types, figure studies and portraits) demonstrate her mastery in dry technique, bold stylistic experimentation and understanding of the needs of the art market in London.
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This article focuses on the development of authorial graphic portfolios as an independent work of art during the revival of original printmaking in the Warsaw artistic milieu. Before the position of graphic artists was firmly established, painters by background collaborated closely with professional graphic artists, particularly those employed in lithographic workshops. For some, such as Franciszek Siedlecki and Feliks Jabłczyński, graphic portfolios also became an important form of artistic expression.
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An analysis of the condition of art would seem incomplete without taking into account the reflections of Wacław Berent, presented in Próchno in “Chimera” around 1900. Taking an external perspective on the internal decay of bohemia, the author seems to agree with the universalism of Leonardo da Vinci’s thought, whose theses, translated by Miriam, appeared in the last issue of the magazine. The necessity to wait out the bad times, mentioned by Leonardo in The Last Lecture, awakened in the writer a desire to take responsibility for art, to find cultural continuity and to deepen the reflection on its mission.
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The article examines the history of the Institute of Art Studies at the Bulgarian Academy of Sciences (BAS) during the first years of its foundation and explores the processes of formation of knowledge about art. In the historical context of inclusion of artists and art historians in the structure of the Bulgarian Academy of Sciences, an attempt was made to trace the evolutionary direction in the development of this part of humanities and to highlight the innovations after the change of the political system after 9.09.1944. On the basis of archival documents, the article analyses the tasks outlined in the Institute’s Five-Year Plan and the role of the first researchers-artists
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