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In his documentary Declaration of Immortality, Marcin Koszałka intentionally refers to the style of Wojciech Wiszniewski. Visual creativity is strongly exposed here, both in the style of filming and the presentation of the hero. The main character in the film, Piotr Korczak, reminds of the monument-like heroes from Wiszniewski’s films, like protagonist from Wanda Gościmińska. A Weaver Koszałka filmed the scenes in the Potocki Palace in Krzeszowice in the manner of Wiszniewski’s long tracking shots. Visual creativity in Koszałka’s and Wiszniewski’s films encompasses the staging, precise frame composition, and their intentional artificiality, which does not nullify the documentary their nature. Form in the works of the directors of Primer (Wiszniewski) and Declaration of Immortality (Koszałka) interacts more or less with the spirit of Stanisław Witkiewicz’s art. Koszałka, like Wiszniewski, ‘dismantles’ reality, exposing the illusion of cinema to present a guru of mountain climbing (Korczak) as a ‘hostage of immortality’. The lonely hero from Wiszniewski-like staged scenes in Declaration of Immortality is presented as an ‘outgoing star’ whose fame has passed, giving way to alienation or a sense of failure. The tension from Declaration of Immortality emerges from the contrast between the way of filming (heroic style), and the meaning of particular scenes. The cinema of Wojciech Wiszniewski includes symbols, metaphors, and allegories. Th is artistic conception goes well with Marcin Koszałka’s concept of cinema, which – since the making of Existence (2007) – has become more and more symbolic, incorporating Baroque-like formal ideas based on strong contrasts to evoke ‘cognitive discomfort’ in the viewer.
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In Lithuania, cast metal works such as bells and cannons came into use in the 14th century. These were imported items or moulds cast by masters sporadically visiting Lithuania. Only late in the 17th century arrived Johannes Breutelt, born in Lorrain, who seems to have worked for about more than 20 years only in Vilnius and to have made it famous as an important European centre of casting. The author analyzes the life and creative work of this master who so far is not well known. Based on the archive, unpublished sources, the author presents data on J. Breutelt's work in the capital of the Great Principality of Lithuania, specifies its dating, and tells us about his place of residence, property, family. The most significant data are related with revealing many of unknown works of the master, guns in particular. The author has compiled a list of cannons and bells, which allows to perceive the scale and character of I. Breutelt's creative work. Short characteristics of each item present the type of moulding, decorations, inscriptions, the present place of still existing works or the place where a description can be found, their fate peripetias. The paper is illustrated by photographs of J. Breutelt's casts found in Lithuania, as well as diminished copies of the ornaments and inscriptions, which have never been published before.
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„La buona figliuola” („The Accomplish’d Maid”) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel „Pamela, or Virtue Rewarded”. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and „La buona figliuola” took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. „La buona figliuola” was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it „Czekina albo cnotliwa panienka” („Czekina or a Virtuous Maid”). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – „Czekina or a Virtuous Maid”, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.
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Purpose of Article. The purposes of the article are to determinate the contents and limits of the notions "Sacral art", "Ecclesiastical art", "Christian" art", to trace the reasons and causes of the changes in the domestic usage of those notions within 20th century in the Art’ history, as well as in the Artists’ practice. Methodology. On the background of his own professional experience and analysis of the special literature the author has prepared an essay on the border of Art History and Cultural Anthropology with applying of historical and historiographical approaches. Scientific Novelty. The provenance of the abovementioned relative but not synonymic notions is traced; their contents and limits are précised; adequacy of using in contemporary Ukrainian and possibility to translate on other languages are checked. Conclusions. The domestic phenomena of our days, known as a "sacral art", do not fully combine an artistic and ecclesiastical fetchers, as it usually coincided in the past. That is why in such a cases applying of a modern conventional notion "sacral art" is more appropriate, than of traditional for our country during 19th – beginning of 20th ct. term "ecclesiastical art". It especially concerns the decorative arrangement of the Church’ services, which is much more close to the art craft or art industry, than to the art itself.
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Polish genre cinema in the time of Polish People’s Republic was in stagnation due to the sociopolitical situation. Limited access to the thriving foreign film industry suppressed a natural evolution within the genre cinema. However, the liberalization of stagnant and overly politicized rules in the communist film industry brought change in the 1980s.The government used to saw movies as a way to sell propaganda in the country. This cultural revolution was marked by the appearance of a new generation of directors, similar in some ways to American New Hollywood; rise of a VCR market and laxity of political restrictions.One of the best representatives of this progression is the Mr. Kleks movie trilogy. Adaptations of Jan Brzechwa’s cult book series: Academy of Mr. Kleks (1983), The Travels of Mr. Kleks (1985), Mr. Kleks in Space (1988). All of theme were directed by Krzysztof Gradowski. The series is a perfect example of a genre-melting pot. Something unprecedented in the Polish cinema.Although there are many radically different conventions in the story, the narrative is very coherent. The release of the first installment clearly marks the beginning of the transformation in the Polish film industry.In the article, I will present the ways in which the film genres are functioning in the Mr. Kleks movies and analyze how these highly original productions were part of a turbulent period of transformational change in communist Poland.
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In terms of gender studies and the history of women in art the author reproduces the biography of the entirely forgotten Russian artist Yulia Svechnikova-Belkovska (1874 - 1960) who came to Bulgaria with her husband Asen Belkovsky, her fellow-student from the Art School in Kazan, Russia, who was later to become a prominent artist. The article presents a thorough study of her life in Russia, Munich and Paris (1905 - 1906) until she finally settled down in Bulgaria (1907), as well as her life in the latter. Her life is closely related to her husband’s except for the academic schools attended by him only. Her artistic style is quite close to his, too: they share the same parallel development and eventually establish the style to be later named “Belkovsky". It contributes to the portrait and landscape painting, plenary sessions included, as well as the use of some impressionistic methods and a new modern approach to the sketch. The better use of the style, however, would be rather made by Asen Belkovsky as the more active and obliged one in a man’s world; Yulia Svechnikova would always remain in his shade. Still underdeveloped, the Bulgarian art marks the appearance of other women of artistic training; they were also married to Bulgarian artists, yet, in general, they didn’t aim at promotion and career in sacrifice to their husband's personal progress in a native environment. These women’s abandon of the ego and the neglect of talent could be characterized as the syndrome of the “echo-wife”, i.e., to deliberately mute one’s creativity and fully adopt the creative approach of the paragon as a man, husband and teacher, no matter of the equal good start of them both. This attitude isolates women and puts them in a marginal position at the beginning of XX century when women’s active creativity struggled for the recognition of not “essentially feminine art” only but rather to gain emancipation through the professional attributes of women’s art.
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Japan’s visual culture articulates eroticism in a specific and contrasted to the West way. Sexual theatre of East Asia is performed by other, different rules, established to a large extent by Chinese culture. In Japan, both fine models of the established artistic tradition (abuna-e, shunga, muzan-e, etc.) and contemporary graphical and erotic and even pornographic artefacts (manga/anime, gekiga, hentai) are created. The aesthetics and canon of traditional erotic prints strongly influence the modern forms of visual arts: illustrations, sketches, cartoons, manga. The idea of a taboo and of decency/indecency in the erotology of the country comes from the processes of westernisation and modernization. In contemporary aspect, it is interesting to trace how these layered erotic images transform into manga/anime productions (in the context of hentai), but also in Japanese art animation and feature film. The analyses are focused on three works: the animations The Sensualist/好色一代男) by dir. Yukio Abe (1991) and Belladonna of Sadness/哀しみのベラドンナ by dir. Eiichi Yamamoto (1973), and the feature Air Doll/空気人形 ) by dir. Hirokazu Koreeda (2009). The analysis is contextual and studies the interrelations with the traditional, but also with the historical and culturological basis of Japan, with the development of literature and cinematography. The field of discourse is placed within the special aspects of the environment and the specifics of Japanese mindset.
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The works on the subject of Jesus Nazareth are discussed in the context of the cultural, religious and political-social life of Lithuania in the indicated period. The article gives statistical data and discusses changes in the form and iconography of these works and the image of Jesus.Since the beginning of the 18th till the middle of the 20th century, variations of the image of Jesus Nazareth, the Redeemed, glorified by Trinitarians, spread in Lithuanian church and folk art. The subject scarcely existed in the soviet times because of the restrictions of religion. But even then monuments were built in cemeteries and churchyards, works for private use were created. Since the time of Lithuanian revival Sąjūdis (1988-1989) till our days the subject of Jesus Nazareth is popular again in Lithuanian art. Statues and relieves were created in monuments and crosses of various composition, also chamber statues, paintings, imagery and other works.The subject of Jesus Nazareth was fit to memorialize Lithuanian history of the 20th century (occupation, victimizations of people, torturing and exile) because of its traditional image of the arrested and judged Righteous. The iconography of the subject was changed a little: the string on Jesus' hands was transformed into a cross, religious and Lithuanian national symbols and inscriptions are often composed next to the figure of the Lord.
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[Inter]sections is the annual double-blind peer reviewed journal of American Studies at the University of Bucharest (ISSN 2068 – 3472). The language of the journal is English (US). Its first peer reviewed issue came out in 2009. From 2009 to 2012, it was a quarterly peer-reviewed publication. Between 2012 and 2014, [Inter]sections was on hiatus. It returned in 2015 as an annual double-blind peer reviewed open access publication.
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Franjevačka teologija je u povodu stotinu godina svoga postojanja i djelovanja u Sarajevu (1909-2009) organizirala znanstveni skup i proslavu pod naslovom 100 godina Franjevačke teologije u Sarajevu: 1909.-2009. Znanstveni skup je održan 6. i 7. studenog 2009. u amfiteatru Franjevačke teologije, a 8. studenog – na dan blaženog Ivana Duns Škota, zaštitnika naše Teologije – održana je proslava tako što je svećeničkom euharistijskom slavlju predsjedao provincijal Bosne Srebrene fra Lovro Gavran. Za vrijeme euharistijskog slavlja izvedena je Missa Bosniensis Andrije Pavliča: Bosanska misa posvećena sv. Franji Asiškom, svim nesretnima, ispaćenima i izgubljenima ovoga svijeta, te bosanskim franjevcima i zboru Pontanima, koji je izveo misu. Zbor Pontanima je osnovao profesor naše Teologije fra Ivo Marković. Dirigirao je skladatelj Bosanske mise Andrija Pavlič (inače je dirigent zbora Pontanima Josip Katavić). Sudjelovali su Amila Bakšić, sopran; Zana Staniškovska, alt; Jasmin Bašić, tenor; Ivica Šarić, bas; i Dario Vučić, orgulje. Pokrovitelj Znanstvenog skupa i proslave je bio Željko Komšić, predsjedavajući Predsjedništva BiH. Koji je smisao Franjevačke teologije i uopće koji je smisao franjevačke škole mišljenja od srednjeg vijeka pa do danas? Evo kratkog odgovora. Franjevci, koji su bili nadareni za filozofsko i teološko mišljenje, nastojali su veličanstvenu viziju Franje Asiškog filozofski i teološko razraditi. Vizija Franje Asiškog, koja se temelji na Isusovu evanđelju, naglašava bratstvo i sestrinstvo svih ljudi, ne samo svih ljudi, nego i svih bića, to jest svih Božjih stvorenja u svemiru. Sva bića u svemiru su braća i sestre po stvorenosti. Jednakost među bićima uključuje i razliku među bićima, jer je svako biće originalno. I samo različita bića mogu biti u jedinstvu. Tom vizijom i njezinim prakticiranjem u svom životu Franjo Asiški je ponudio alternativu svijetu mržnje i nasilja, u kojem i danas živimo. To je on rekao svojom poznatom rečenicom koja glasi: “Exivi de saeculo” - “Izašao sam iz svijeta nasilja.” Izašao je iz svijeta nasilja i počeo osnivati svijet mira. Zadaća svih odgovornih bića jest izlazak iz svijeta nasilja i uspostavljanje svijeta mira, slobode i ljubavi. Zamislimo svijet bez nasilja i zamislimo svijet u kojem nasilje više neće biti moguće. Koliko su veliki franjevački mislioci tu viziju uspješno razradili i koliko su franjevci Bosne Srebrene, koji su živjeli i djelovali na Franjevačkoj teologiji, to mišlju i djelom svjedočili, to jest otjelotvorili, neka prosude drugi. U radovima sa znanstvenog skupa, koji se ovdje objavljuju, autori su obrađivali važne teme iz različitih perspektiva, pri čemu se moglo uvidjeti da je do Istine moguće doći samo dijalogom različitih perspektiva. Dijalogom uviđamo da je Istina jedna i da nas Istina sve nadilazi i povezuje u jednu zajednicu, ne samo nas, nego i cijelo čovječanstvo. Karl Jaspers je rekao: Istina je ono što nas povezuje (Wahrheit ist, was uns verbindet).
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42 color illustrations, 132 pages, 1 postcard + 1 memory stamp Matrakçı Nasuh
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In autumn 1911, Alice Dmitrijew (1876–1945) showed her decorative, stylised colour woodcuts for the first time to the public of her native Riga at the 2nd exhibition of the Baltic Artists’ Association in the Riga Art Society premises. Existing publications, mainly artists’ dictionaries, provide very little information on her biography, largely containing birth and death years, some facts and short descriptions of her graphic works but nothing about her education. Also early 20th century local periodicals give only descriptions of works shown in exhibitions and individual reproductions. Significant hints of a more comprehensive biography have been found in a letter by the Riga-born German Margot Mecketh (1889–1956) to Paul Campe (1885–1960) preserved in the legacy of this architect and historian of architecture at the Herder Institute in Marburg and so far unknown to Latvian researchers. Alice Dmitrijew was born in Riga on 23 June (5 July) 1876 to the family of Ivan Dmitrijew (1841 or 1842–1914), a merchant from Yaroslavl and active member of the city’s Russian community, and his wife Alice (b. Alice Meshit, widowed Wilhelmson, 1840 or 1841–1878), a Riga-born descendant of a Silesian weavers’ family. The future artist lost her mother early, received primary education with Russian tutors but later joined the Baltic German circles with the help of her mother’s relatives and friends. Dmitrijew probably began her artistic education at Elise von Jung-Stilling’s (1829–1904) Drawing School in the late 1890s but later together with Anna Hellmann (married Schewitz, 1876–1932) perfected her knowledge in Germany. There both budding artists possibly attended the so-called Debschitz School (Debschitz-Schule) or Studio for Training and Experiments in Applied and Free Arts (Lehr- und Versuchs-Atelier für angewandte und freie Kunst) in Munich for some time around 1904–1905. Having met Rainer Maria Rilke, they spent the summer of 1905 painting at the Worpswede artists’ colony. After returning to her homeland, Dmitrijew became acquainted with her future close friend, painter, craftswoman and critic Susa Walter (1874–1945) who had studied in Tartu and Berlin; she had recently moved to Riga and opened her studio there. Dmitrijew, along with other young artists, practiced fine and applied arts there and explored art history at regular lectures. Dmitrijew got involved with the regional artistic life, joining the Women Artists’ Club (Künstlerinnen-Klub) together with other local activists as well as participating in exhibitions on a regular basis since 1910. She exhibited her works at the shows of the Baltic Artists’ Association in Kuldīga (1910, 1911, 1912), Riga (1911, 1913, 1918), Pärnu (1911) and Tallinn (1912), also taking part in other exhibitions of fine and applied arts in Riga (1915, 1917) and Tallinn (1911, 1918). In January 1918, Dmitrijew together with Susa Walter and Nora Ruthenberg (b. Umblia, 1890–1974) organised an exhibition in a house at Smilšu Street, all three exhibiting about 200 paintings, woodcuts and drawings. Dmitrijew most often exhibited colour woodcuts in local art shows, being one of the first Baltic artists to take up print techniques seriously; she largely earned positive reviews in both the German and Latvian press. However, today we know just twelve woodcuts from the print collection of the Latvian National Museum of Art, one painting that has recently surfaced in the art market, one cover design for a book and several reproductions in the Yearbook of Baltic Art (Jahrbuch für bildende Kunst in den Ostseeprovinzen).Dmitrijew’s preserved works, all dated about 1910–1915, feature typical Art Nouveau interplays of rhythmical areas and a refined, subdued colour range. In this period she had used simple compositions, laconic, generalised and unified colour fields and subtle tonal variations to create decorative, moderately elegant and sometimes playfully fresh interpretations of figural, landscape and still life motifs. In still lifes, her favourite motif was simple compositions with flowers of one sort and colour in vases of different forms; similar motifs also feature in the works of Martha Hellmann (1873–1972) and Susa Walter realised in other techniques. But the known landscape motifs are almost all dissimilar. They include a bumpy forest road leading towards a contrasting bright blue distance, a fragmentarily captured dune hill with pine trunks, a couple of more uniformly coloured and spatially broader dune scenes as well as an urban motif with the fragmentary Vasily the Blessed Cathedral in Moscow. Dmitrijew’s stylised and very decoratively treated figural genre compositions were highly original in comparison to other local artists’ works of the time. Figures are mostly pictured from a side view, caught in rather tense, seated positions and rendered with silhouettes in nuanced, graded tones, often emphasising decorativeness with juxtaposed colour fields or ornamental décor. About 1919–1920, Dmitrijew moved to Berlin where she launched and headed a studio of applied arts together with Susa Walter. In the mid-1930s she returned to Latvia but did not join in the local artistic life any more and left her homeland in autumn 1939 along with many other German-origin inhabitants of Latvia. In December 1945, Dmitrijew died in Selz refugee camp in Germany not far from Altentreptow, and almost all of her creative legacy perished during the war.
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Neglected through the 18th-19th centuries by the priors of the Cotroceni Monastery, dispossessed of its riches and income, the Doamnei Church slowly entered a downward spiral of degradation and devastating events. In 1868, in an era when the Church suffered the effects of secularization and Occidental renewal, the foundation of Lady Mary suffered radical reparation. The essential gesture that produced the change and the damaging simplification of the iconographical discourse was the partial hammering of the 17th century painting, and its covering with a new layer of painting, after the taste and mentality that has defined the second half of the 19th century. The information acquired from the analysis of archive photographies, corroborated with in situ observations, allowed for the reconstruction of the dramatic journey that the old painting of the Doamnei Church was to suffer, from the destructive act of hiding it under a new pictorial decor to the moment of its rediscovery and bringing to light. The recent reconstitution, of an archaeological type, of the iconographical ensemble from 1683 lead to a new lecture of the manner in which the works of painters Constantinos and John developed. The interruption of the iconographical programme of the Doamnei Church and their leaving the site generates questions and hypotheses regarding the evolution of the reign of Șerban Cantacuzino.
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