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    Wyświetlanie 1-5 z 5
    Tytuł:
    W krwawym polu srebrne ptaszę
    Autorzy:
    Poprzęcka, Maria.
    Powiązania:
    Mówią Wieki 2003, nr 1, s. 52-56
    Data publikacji:
    2003
    Tematy:
    Gierymski, Maksymilian (1846-1874)
    Benedyktowicz, Ludomir
    Grottger, Artur
    Gierymski Maksymilian (1846-1874) twórczość
    Benedyktowicz Ludomir (1844-1926) twórczość
    Grottger Artur (1837-1867) twórczość
    Powstanie 1863 r. styczniowe ikonografia
    Malarstwo batalistyczne polskie 19 w.
    Opis:
    Malarstwo Maksymiliana Gierymskiego, Ludomira Benedyktowicza i Artura Grottgera.
    Fot.
    Dostawca treści:
    Bibliografia CBW
    Artykuł
    Tytuł:
    Володислав Федорович та Артур Ґротґер. Забуті сторінки однієї приязні
    Volodyslav Fedorovych and Artur Grottger. Forgotten Pages of One Friendship
    Autorzy:
    Nabytovych, Ihor
    Powiązania:
    https://bibliotekanauki.pl/articles/2154613.pdf
    Data publikacji:
    2019-12-10
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Artur Grottger
    Volodyslav Fedorovych
    intercultural dialogue
    creativity
    border of cultures
    Opis:
    The article explores the history of the relationship of Volodyslav Fedorovych and Artur Grottger, an almost forgotten page of Ukrainian-Polish intercultural dialogue of the last quarter of the nineteen century. Their friendship undoubtedly had an influence on both of their lives, and it remains an important demonstration of Ukrainian-Polish intercultural and interpersonal dialogue on the border of the two cultures of the two nations. The first of the two aforementioned men was a famous Ukrainian philanthropist, the third head of Prosvita society, a member of the Polish circle in the lower house of the Viennese Parliament. Artur Grottger died at the age of thirty; however, he became a symbol of Polish Romanticism and a champion of the Polish rebellion in January 1863. Volodyslav Fedorovych spent two years in the capital of the Habsburg Monarchy, studying in a privileged educational institution for children of noble families – Collegium Theresianum. At the same time, Volodyslav attended lectures at the University of Vienna. Vienna, one of the cultural capitals of Europe, awakened his interest in paintings and art in general. In Vienna, he met the famous Polish painter Artur Grottger, who was to introduce him later to the Ukrainian painter Kornylo Ustyanovych. Later on, Ustyanovych will become a cult figure in Galicia. The article recounts a story of his cousin Alexandra. Volodyslav was in love with her. She died very young, but Grottger managed to draw a portrait of her.
    Źródło:
    Studia Polsko-Ukraińskie; 2019, 6; 115-134
    2353-5644
    2451-2958
    Pojawia się w:
    Studia Polsko-Ukraińskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obraz Artura Grottgera „Modlitwa konfederatów barskich przed bitwą” (pod Lanckoroną?): historia, literatura, ogląd
    Grottger’s Painting “The Bar Confederates Pray Before the Battle“ (of Lanckorona?): History, Literature, Vision
    Autorzy:
    Bryl, Mariusz
    Powiązania:
    https://bibliotekanauki.pl/articles/909559.pdf
    Data publikacji:
    2020-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    the Bar Confederation
    Artur Grottger
    historical/literary references
    autonomy/heteronomy relationship
    art historical hermeneutics
    Opis:
    The subject of the paper is a painting by Artur Grottger, which has not yet been the subject of  close art historical analysis, hindered by the complicated history of the painting as a material object: from its creation (1861–63) and being exhibited in Vienesse Kunstverein in 1864 (titled Das Gebet vor der Schlacht. Episode aus der vergangenen Zeit in Polen), via its appearances and disappearances in the arena of history, till its present status of an object in a private collection, whichlimits its accessibility. The reconstruction of the process of constituting its present title (The Bar Confederates Pray Before the Battle of Lanckorona), reveals the problematic status of the reference to the specific battle fought during the Bar Confederation (1768–1772). The confrontation of the pictorial presentation with a real course of the battle of Lanckorona (23 May 1771) proves that it was not Grottger’s imperative to reconstruct in a probabilistic manner neither the place nor the course of the specific historical event. The analysis of the common for the artist and its public cultural competence, whose basis during  that epoch was literature, does not yield an unequivocal identification of specific historical figures or literary motifs as references for the painting. This probabilism of heteronomous, historical and literary references, increases the autonomy of Grottger’s painting as a visual medium. Following the tenet of art historical hermeneutics that it is not contextual references but the pictorial potential activated by the artist that defines the actual status of the represented event, the subject of the next part of the text is the vision-oriented logic of the painting. The main reference is Michael Brötje’s theory, according to which the surface of the painting (not the material, covered with paint, picture plane – die Flache – but immaterial, invisible instance – die Ebene) constitutes the ultimate instance for both represented reality, which it transcends and whose boundaries it establishes, and for the spectator, who confronts this reality in the process of viewing with the pictorial surface and its boundaries. In the process of viewing, which consists in the interaction between structural properties of the painting and the postulated by the viewer relating to the surface, the spectator experiences, as his or her own, the truth about the confederates’ origin, their connection with nature, their religiosity, rootedness in the motherland, death as their destiny, and their devotion to the ultimate absolute instance. The very experience, residing in the medium, ultimately determines the status of the heteronomous in relation to the painting, historical and literary references.
    Źródło:
    Artium Quaestiones; 2020, 31; 369-400
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Chopin - Grottger
    Autorzy:
    Poniatowska, Irena
    Powiązania:
    https://bibliotekanauki.pl/articles/780127.pdf
    Data publikacji:
    2010
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Fryderyk Chopin
    Chopin’s 24 Preludes
    Op. 28
    Artur Grottger’s graphic cycles
    Stanisław Tarnowski
    correspondance des arts
    Opis:
    Is Stanisław Tarnowski’s linking of Fryderyk Chopin and Artur Grottger in his Dwa szkice [Two sketches] justified? Well, the connection is substantiated by the “Romantic-leaning” point of view and the idea of the correspondance des arts that characterised the nineteenth century in which the two creative artists (and Tarnowski himself) lived, although they represented different creative fields. Both the musician Chopin and the artist Grottger were regarded as poets. The former on account of the poetic of his piano playing and musical works, the latter for the poetical dimension of his pictures devoted to the January Rising. Tarnowski called Chopin the fourth bard of Poland, alongside Adam Mickiewicz, Juliusz Słowacki and Zygmunt Krasiński, and Grottger the poet of the Rising, since - as he paradoxically stated - the poetical narrator of those events could only be an artist. Terminology of a literary character belonged to the lexicon of notions employed by critics of art and music at that time. Besides this, the national character is inscribed in the idiom of the work of both these creative artists - the thoroughly patriotic stance that was so strongly manifest in the output of Polish romanticism. Another common denominator in their work is the concept of the cycle. With Chopin, the 24 Preludes, Op. 28 comprise a cycle in which the bonding element is the succession of major keys and their relative minor keys according to the circle of fifths, but they are also an expressive cycle of various states of mind, from despair to joyous reverie. The Preludes show both the semantic capacities and the suppleness of Chopin’s musical language; that is, the ability to express the same feelings through various purely musical means, without any programmatic motto. With Grottger, we have the cycles Warszawa [Warsaw] (two cycles), Polonia, Lituania and Wojna [War]. In them, the metonymy of the narrative sequences is coupled with the notional exposition, with the symbolism. Grottger portrays not the historical scenes of the Rising, but the feelings of grief, despair and fear of individual people, reflecting their experiences. And so the concept is similar. Chopin’s Preludes are like sketches, aphoristic utterances; sketches are also important in the work of Grottger, partly as a self-contained genre. A third plane of analogy is the reduction of media. Chopin confines himself essentially to the piano, from which he produces startling tonal qualities, although he did write several works for chamber or orchestral forces. Grottger, meanwhile, draws his cycles solely in black pencil, using white only to heighten contrasts and give the effect of chiaroscuro. He did not wish to distract the attention of viewers, but wanted them to concentrate on the symbol.
    Źródło:
    Interdisciplinary Studies in Musicology; 2010, 9; 101-114
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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