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    Wyświetlanie 1-14 z 14
    Tytuł:
    II Batalion Szturmowy "Odwet" Armii Krajowej : suplement
    Współwytwórcy:
    Sułowska-Dmochowska, Maria. Opracowanie
    Data publikacji:
    1998
    Wydawca:
    Warszawa : Środowisko II Batalionu Szturmowego "Odwet" ŚZŻAK
    Tematy:
    Straszewicz-Marconi Zofia (1922- ) biografia
    Straszewicz-Marconi, Zofia
    Służba wojskowa kobiet Polska 1939-1945 r.
    Opis:
    Od VII 1944 r. w "Odwecie". W Powstaniu w Al. Niepodległości 210. Od 8/9 VIII w Śródmieściu (Architektura, ul. Noakowskiego 20). Ewakuowana ze Szpitalem Dzieciątka Jezus w końcu X 1944 r.
    S. 96, Zofia Straszewicz-Marconi - ur. 1922, "Sierp", "Zofia Sierpówna".
    Dostawca treści:
    Bibliografia CBW
    Książka
    Tytuł:
    Katedra Konserwacji Akademii Sztuk Pięknych w Warszawie
    THE CHAIR OF CONSERVATION AT THE HIGH SCHOOL OF ARTS, WARSAW
    Autorzy:
    Bursze, Juliusz
    Powiązania:
    https://bibliotekanauki.pl/articles/539102.pdf
    Data publikacji:
    1971
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    ASP Warszawa
    B. Marconi
    program kształcenia konserwatorów
    Opis:
    The Department of Conservation at the Academy of Fine Arts, Warsaw was founded in 1947 as the first post-war modern faculty of conservation. Its p rogramme has been outlined by Professor Bohdan Marconi, who at the same time is to be mentioned as the founder of the faculty itself. The programme outlines in principle remained unchanged up to the p resent day although, as the time passed, they have been considerably extended. The chief objective of programme consisted in train in g of conservators able to preserve the paintings, objects of graphic a rt and works of artistic craftsmanship and having special education in technology, chemistry and history of art. In its present form the scope of studies has been confined to the activities of a chair w ith ;in the F a culty of Painting and it covers the following specialized branches: conservation of easel and mural paintings and of polychromed sculpture, conservation of works of graphic art, ancient books and manuscripts, conservation of sculpture and architectural details. It is intended to create in the future the laboratory for conservation of pieces of artistic craftsmanship. In addition to usual lectures and exercises in p a rticular specializations all the students are obliged to 1 hear the lectures and p a r t:cipate in exercises conducted in painting, cppying, drawing, chemistry, special photography, documentation, history of a rt and those devoted to museology. Besides, the students should also pass a special cycle of lectures in microbiology and spectrography and spend a certain amount of time on practices during th e :r summer holidays. The diploma work normally comprises the independently executed conservation of an object, accompanied by a complete documentation based on knowledge of the history of art, its attribution, and p re paring a copy using the original techniques. It seems to the author to be desirable to introduce the post-graduation practices which were many times postulated a t various conferences. The Chair of Conservation closely co-operates with the National Museum, Warsaw, the National Library and the State Enterprise for Conservation of Art as well as with several other museums and educational institutions as, e.g. the High School of Agriculture, Warsaw or Technical University. Up to the present day some ninety conservators with different specializations have left the Warsaw High School of Arts.
    Źródło:
    Ochrona Zabytków; 1971, 2; 120-122
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Papiery dokumentów rodzinnych Bohdana Marconiego
    THE PAPERS IN AN ARCHIVE OF FAMILY DOCUMENTS ONCE IN POSSESSION OF THE LATE PROFESSOR BOHDAN MARCONI
    Autorzy:
    Wawrzeńczak, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/538755.pdf
    Data publikacji:
    1975
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    papier stemplowy
    historia papiernictwa
    znaki wodne
    zbiór dokumentów Bohdana Marconiego
    filigran
    Bohdan Marconi
    Opis:
    The first half of the 19th century saw a considerable growth of paper industry in the Polish Kingdom, which was directly associated with the general technical progress and the steadily widening range of activities of Polish publishers. Although lots of high- quality papers were still further imported from abroad the manufacture of wove papers was started in paper mill at Mary mont near Warsaw in 1821 and then at Jeziorna and Sople. Particularly high quality papers were achieved at Jeziorna paper mill where also the production of machine-made papers was started. It is a well-known fact that as librares and archives are basic source for investigations and studies of history of paper-making are to be. Among them the family archives are most hardly accessible for reseachers. The collection of family documents from the years 1818—1870 concerning the family of Kolbergs famous for their merits for the Polish culture, gathered by the late Professor B. Marconi is considered to be extremely interesting. The author carried out in analysis of papers forming the above collection from two viewpoints, i.e. this of provenience and that quality of papers which enabled the following findings: (a) the central institutions of the Polish Kingdom willingly the high-quality papers of Dutch make, (b) the development of domestic paper mills caused that in addition to those imported there were also applied the wove papers from Jeziorna mill, (c) starting from the mid-nineteenth century the handmade papers gave gradually their place in those machine- -made.
    Źródło:
    Ochrona Zabytków; 1975, 3-4; 256-261
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    W związku z uwagami prof. Bohdana Marconiego
    Autorzy:
    Schuster-Gawłowska, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/539273.pdf
    Data publikacji:
    1964
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    odpowiedź na uwagi prof. Marconiego
    dyskusja nad metodą przenoszenia malowidła ściennego
    prof. Marconi
    Źródło:
    Ochrona Zabytków; 1964, 4; 44-46
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pałac w Czesławicach – zabytek przywrócony
    The Palace in Czesławice – a restored historic building
    Autorzy:
    Landecka, Halina
    Powiązania:
    https://bibliotekanauki.pl/articles/536522.pdf
    Data publikacji:
    2010
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    Czesławice
    pałac
    park
    Leonard Marconi
    Walerian Kronenberg
    park Kronenberga
    zespół pałacowo-parkowy
    Zabytki architektury i budownictwa w Polsce
    Opis:
    Czesławice, a small village located near Nałęczów, in the Puławy Poviat, is known in the Lublin region for an extensive palace and park complex blended picturesquely into the natural valley. Thename (originally “Czasławice”) derives from the name of the Czasławski family – the first owners recorded in original documents as early as 1531. The exact location of the old manor house(made of wood, and later of brick) is not known. The plans from 1870 record the existence of an 18th-century brick manor house and a complex of farm buildings, whose construction can,in all likelihood, be dated back to the 1st half of the 19th century, as a part of Count Ludwik Małachowski’s investment activities. In 1886, Czesławice was purchased by Wacław Wernicki, an industrialist from Warsaw, who intended to build a mansion in a place ensuring good climatic conditions, healthy air and a beautiful landscape in order to restore his sick wife to health. Anotherreason for the choice of this location was the construction of the eastern section of the Vistula railway line with the Miłocin (later Nałęczów, presently Sadurki) railway station situated 3kmaway from Czesławice. The impressive palace in Czesławice was built to the south-east of the previous manor house. There is no evidence for the fact that the current manor house wasconverted from the brick manor house left by the previous owners; this has not been confirmed by architectural research conducted here in the years 1986 to 1987. The palace was probablyerected according to the design by Leonard Marconi as a new plan in a new place, adapted to the conditions of the land gently sloping towards the stream valley. The park wasdesignedby Walerian Kronnenberg – one of the most outstanding garden layout designers of the turn of the 19th and 20th centuries. The total area of the complex, including the farm, was24ha. According to the Decree of the Polish Committee of National Liberation (PKWN) of 6 September 1944 on the agricultural reform, the estate was taken over by the state and granted to the Higher College of Agriculture in 1955. The new owner started a thorough reconstruction of the palace. At the beginning of 1960, connecting passages and side wings were rebuilt, where thesecond usable storey was introduced in place of the mezzanine. New staircases were designed, ceilings and roofs were replaced, and partition walls, new holes, flues and air ducts wereintroduced, destroying the retained decorations on the ground floor level. At that time, the object had not yet been entered into the national register of historic monuments and was notprotected by the law, therefore the renovation was carried out without a conservation plan. The school never finished the repair works and did not clean the ponds, but due to financialdifficulties, it also failed to carry out its plans to build a boarding house in the park area. In the years 1987-1991, only some parts of the palace were used – in the southern wing, therewere offices, whereas other rooms were occupied by temporary users who did not care about the palace being a historic monument. In 1991, the Provincial Conservator of Monumentsordered the school to protect the palace and the retained elements of interior decor. This acted as a motivation to look for a new user. In June 1996, the palace and the 14 ha of thepark area and ponds were sold to Sp. z o.o. HERMES company based in Lublin. The apparent opportunity for the historic building turned out to be an utter disaster. Almost immediately,without any conservation or building permits, the company started works that led to a substantial devastation of the palace and the park within less than a year. A number ofspecimen trees were cut down, the palace roof covering was replaced and all external plasters were hacked off together with the details of façade decorations: cornices, trims, pilasters,rustications and portals all disappeared. Bare plain walls stripped off of plaster began to be lined with polystyrene foam. The conservation office suspended the works and notified theprosecutor’s office about the destruction of the historic monument. A new chapter in the history of the palace and park complex in Czesławice started only in August 2001, when it was sold toa new owner – Renata Grochowska, who, together with her husband, has been making every effort to save the building. The first actions of the new hosts have focused on the basic protection of the palace and the park. Details, interiors and decorations of the palace are being reconstructed on the basis of old designs and archival documentation. Gradually, but consistently, thepalace and the park in Czesławice are regaining their splendour. The intention of the owners is to recreate the residential character of the complex and make it available for cultural, touristand research purposes. Around 150 unique specimen of the park tree stand, which consists of more than 2,500 items of over 60 species, were classified as natural monuments subjectto protection. Steps are being taken to clean the ponds, to unclog drains, to renovate dykes and to plant lawns. After many years, the historic building is returning to its formermagnificence.
    Źródło:
    Ochrona Zabytków; 2010, 1-4; 17-26
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dyskusja o zasadach konserwatorskich. Poglądy i wnioski
    SUR LES PRINCIPES DE LA CONSERVATION (OPINIONS ET CONCLUSIONS)
    Autorzy:
    Malinowski, Kazimierz
    Powiązania:
    https://bibliotekanauki.pl/articles/539182.pdf
    Data publikacji:
    1966
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    zasady konserwatorskie
    teoria konserwatorstwa
    teoria Riegla
    doktrynaViollet-le-Duca
    Michelangelo Azzevedo
    Vaclav Wagner
    J. E. Dutkiewicz
    Dobrowolski
    Marconi
    Opis:
    Etablir des principes pour le restaurateur des biens culturels meubles devient aujourd’hui l’un des objectifs les plus urgents. La „Charte de Venise” est, dans le domaine de l’architecture, considérée comme déclaration obligatoire. Pour la peinture, surtout peintu re murale, il apparaît dernièrement nombre de divergeances, résultat d’une analyse insuffisante des postulats e t du manque d’une théorie développée largement et conséquemment. Nous assistons donc à une floraison de diverses tendances qui représentent une optique fragmentaire de la question, telle par exemple l’opinion qui veut que l ’on procède à la re construction afin de rétablir l’effet artistique primitif ou bien des voix opposées qui réclament le respect pour le processus naturel de la destruction. L’Objet principal de la théorie de conservation est, selon l’auteur, avant tout la question des motifs qui nous imposent de la piété envers les monuments. Il présente donc plus amplement la théorie de Riegl qui décèle, dans notre attitude vis-à-vis les monuments dies critères d'évaluation suivants: historiques, artistiques, e t utilitaires ainsi que la valeur de „l’ancienneté” (Altenswert), résultant de la conscience de la fugacité. Ensuite l’auteur décrit les opinions de Dvorak qui a souligné le rôle des sentiments tels que par exemple la piété religieuse, la piété pour le souvenir des ancêtres, le patriotisme e t la tendance à transmettre aux générations futures ses propres expériences. (Fuis il analyse la classification des notions d ’après Frodl, basée sur un système développé des valeurs citées par Riegl, tout en introduisant la valeur du „symbole”, par lequel il explique e t justifie la reconstruction des désastres de guerre (Varsovie). Des auteurs qui s’opposent à la formation des „produits cliniques”, d ’un ,.scientisme exagéré” sont commentés à leur tour, des auteurs qui s ’expriment en faveur du rétablissement des valeurs artistiques de l'oeuvre, de sa reconstruction (Wagner, Azzevedo, Althöfer), ainsi que ceux qui sont pour les principes de conservation strictement observés, avertissant de la 'possibilité de la formation des palimpsestes, car, dans ce cas, 'il faudrait attribuer les valeurs du monument aux reproductions aussi. Ce ne serait d’ailleurs qu’un retour aux pratiques de Viollet-le-Duc (Linda 11, Mielke, Roberto Pane). Parmi les auteurs polonais c’est Dobrowolski et Marconi qui, dans ces questions, représentent un point de vue intermédiaire. Ils proclament, au lieu d ’une interdiction stricte, l’opiniion qu’il faut „compléter, mais le moins .possible”. On trouve une présentation plus ample des opinions de Dutkiewicz qui constate, entre autres, què l'homme „demande que le document (...) soit entièrement véritable”. Dutkiewicz tient compte aussi du fait de notre dépendance des a ttitu des contemporaines, artistiques et philosophiques, et trouve des raisons à la tendance de conserver l’état existant et de „laisser la matière corrodée”. Mais, en même temps, il parle de la nécessité de compensation de valeurs perdues par de nouvelles valeurs. Il compare le rôle du conservateur à celui du metteur en ondes dans le .domaine de la musique mécanique. Des voix qui critiquaient les sévères .principes d ’autrefois, des voix qui réclamaient le droit de la reconstruction, se sont fait entendre surtout dans les premières années après la guerre, ce que fut une réaction assez naturelle dans la situation, où de considérables biens culturels étaient menacés de perte. Les conservateurs s ’inquiètent aujourd’hui car, selon l’auteur, ils 'interprètent d’une manière fausse l’attitude de l’homme contemporain envers l’art ancien. L’acquis du passé peut être (incorporé dans la vie contemporaine en ta n t qu’un facteur actif de la culture. Cependant, dans la plupart des cas, il constitue un fait historique ressenti avec une juste notion de distance. Car l’homme possède l ’aptitude d’accomoder la perspective de temps, de séparer les choses éloignées des choses proches. C’est pourquoi notre principe devrait être: c o n s e r v e r e t n e p a s c h a n g e r , car c’est .ce principe qui est la seule raison du métier du conservateur. L’autre courant, apparaissant à côté des tendances qui proviennent de l ’actualisation intégrale de l’art ancien, est une fascination par le phénomène de la fugacité. „Vanitas vanitatum”, une conscience de la fugacité, du pessimisme e t de la désespérance — ces idées se sont répétées plus d’une fois dans l’histoire de notre culture. Nous entendons ces voix depuis les temps bibliques. Et récemment, (Schopenhauer et les existentialistes, iSpengler et Husserl, parlaient de „Sein zum Tode” et d’une onise de la cultpre e t 'de la science. Callais et Bataille aperçoivent même dans l ’histoire de la (société des tendances à la destruction qui seraient un moyen1 d ’assurer l ’existence des normes .sociales e t de l ’équilibre économique. Les mêmes tendances trouvent à leur opposé .des orientations qui remportent sur celles-là. „Aere .perennius”, „Ars longa, vita brevis” — tel rôle était attribué à l’art. Ce sont ces dernières tendances qui dominent, elles décident du développement et du progrès de l’humanité. Nous sommes immunisés contre la fascination par la fugacité grâce non seulement à l'impératif biologique de la vie, mais aussi à la conscience du sens de la vie (sociale e t de la valeur de chacun de nos apports à la culture e t à la civilisation humaine qui, elles, se développent toujours. En conclusion l ’auteur formule certains principes et prémisses de l ’activité du conservateur: ■—■ le monument est un document; voilà pourquoi il devrait être conservé sous sa forme inchangée; — des objets endommagés, compte tenu de la connaissance historique générale et de l’imagination propre à tout homme, cessent d ’être actuellement considérés comme victimes de destruction, telles — et depuis longtemps déjà — les .sculptures antiques. En les conservant sous cette forme nous .pouvons par là-même constater la distance dans le temps et .sentir l’authenticité de l’oeuvre, ce qui répond aux besoins e t aux demandes explicites de tous les spectateurs ; — avant d ’établir un programme concret de conservation il faut procéder à l’analyse des valeurs au nom desquelles l’oeuvre en question doit être conservée. En fonction des valeurs — selon la classification de Riegl — qui vont emporter on décidera dans quelle mesure on peut entreprendre des retouches ou bien même des compléments. Ces décisions devraient être individualisées, prises pour chaque cas particulier, d ’une façon collégiale pourtant, par des personnes compétentes et collectivement responsables.
    Źródło:
    Ochrona Zabytków; 1966, 2; 13-22
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Natolin
    Autorzy:
    Lorentz, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/536704.pdf
    Data publikacji:
    1948
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    Szymon Bogumił Zug
    Pałac w Natolinie
    brama maurytańska
    Henryk Marconi
    letnia siedziba Prezydenta Rzeczpospolitej
    prace konserwatorskie w Pałacu w Natolinie
    Opis:
    Le pa la is de N a t o l i n , dans la lo ca lité de ce nom, près de Varsovie, fut é le v é par la princesse Isabelle Lubomirska, en 1780, d’après les projets de l’arch ite c te Simon Bogumił Zug, en s ty le classique. En 1806, on entreprit la reconstruction du p a la is d’après les projets du nouveau propriétaire, célèbre connaisseur en architecture, Stan islas Kostka -P o to cki e t tde l’arch ite cte Pierre Aigner. Le stuc des intérieurs est dû à Virginius Bauman. D e 1805 à 1815, on construisit l ’an n ex e , la remise et les é cu ries, une terrasse à amphitéâtre devant le p a la is et un e ferme hollandaise, — on dessina le parc à l’ang la ise et on y pla ça quantité de sta tu es et de pierres commémoratives. Vers 1823, on é lev a des m a isons empire pour les concierges. D e 1834 à 1838, on orna la façade du p a la is de sculptures, on é rigea la sta tu e empire de Na th a lie Sanguszko dans le parc, on construisit le pon t et la porte mauresque, ainsi que le temple dorique et l’aqu educ su iv an t le projet de lien ri Marconi. Vers la fin du XlX -e s., le p a la is commença à tomber en ruines. D é v a sté et p illé par les Allemande, en 1944, il fut occupé l’an n é e su iv an te et devint la résid en ce d’é t é du Président de la R ép u blique. Les tr a v a u x de conservation ont assuré, dans leur première étape, le p a lais contre un e ruine plus grande. On f it de n ou v eau x toits, on mit des vitres a u x fenêtres et l’on combla les fo ssés de tireurs dans le parc. Dan s la seconde étape, on r estaura les intérieurs, on n e tto y a , entre autres, la frise en stu c de 1808, qui représente les fêtes de D y o n y so s , on f ix a la p o ly chrom ie —• n ou v e lle ment découverte, de 1840—45, des chambres „étrusques“. Pour décorer et meubler l ’intérieu r on obtint des meubles empire et d ’autres objets historiques du temps où le p a la is fut construit. D an s le salon demi-ouvert du cô té de la terrasse on a d é couv e rt et restauré au p la fo n d la p o ly chrom ie de Brenne, de 1780. Les tra v au x dé conservation ont ég a lem en t englobé les ann ex e s et le parc. 11 faut encore restaurer les sculptures de décoration et les monuments architectoniques du parc. Un e tâche sp é c ia le c ’est la mise en ordre et la reconstruction du parc à l’ang la ise , un des plus p r é c ieu x de Pologne.
    Źródło:
    Ochrona Zabytków; 1948, 1; 27-31
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Monument of Earl Aleksander Fredro. Concepts of location in Wrocławs spatial structure
    Pomnik Aleksandra hr. Fredry. Koncepcje usytuowania w strukturze przestrzennej Wrocławia
    Autorzy:
    Majczyk, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/2028520.pdf
    Data publikacji:
    2021
    Wydawca:
    Politechnika Wrocławska. Oficyna Wydawnicza Politechniki Wrocławskiej
    Tematy:
    art
    monumental sculpture
    Marconi Leonardo
    Aleksander Fredro monument
    Lviv
    Wrocław
    Regained Territories
    sztuka
    rzeźba monumentalna
    pomnik Aleksandra Fredry
    Lwów
    Ziemie Odzyskane
    Opis:
    The Monument to Aleksander Fredro was brought to Wrocław in 1956 and placed in the Wrocław Market Square to become a favourite meeting place of the city inhabitants after some years. The final location decision was preceded by a discussion, reported in detail in the press. Initially, it was thought that the small and rather cosy monument form precluded its placement in the large, open space of a central city square. After all, Leonardo Marconi's work was designed for the small Lviv Academic Square, located in the vicinity of the Fredro family's residence gardens. However, the writer's sculpture took a special meaning in post-war Wrocław. Firstly it was perceived as a symbol of Polishness, a metaphorical link between the Recovered Territories and the lost Eastern Borderlands, and secondly, it was the first "Polish" monument to be unveiled in the centre of former Breslau. This is why the monument was finally placed in the city's most important square, in place of the equestrian monument to Friedrich Wilhelm III, demolished after Word War II, thus symbolically "sacralising" the Wrocław market square. This paper aims to present a discussion, now forgotten, on the location of the Fredro monument, to which not only decision-makers but also citizens of the city were invited. The paper presents previously unpublished concepts for the location of the monument in various, nowadays not obvious, spots in Wrocław.
    Pomnik Aleksandra Fredry przywieziony do Wrocławia w 1956 r. i ulokowany na wrocławskim rynku stał się po latach ulubionym miejscem spotkań mieszkańców miasta. Ostateczną decyzję lokalizacyjną poprzedziła dyskusja, którą szczegółowo relacjonowano w prasie. Początkowo uważano, że kameralne formy pomnika wykluczają umieszczenie go w dużej, otwartej przestrzeni centralnego placu miejskiego – dzieło Leonarda Marconiego było w końcu projektowane z myślą o niewielkim lwowskim placu Akademickim, położonym w sąsiedztwie ogrodów rezydencji Fredrów. Tymczasem w powojennym Wrocławiu rzeźbie pisarza nadano szczególne znaczenie – po pierwsze postrzegano ją jako symbol polskości, metaforyczne powiązanie Ziem Odzyskanych z utraconymi Kresami Wschodnimi, po drugie zaś była pierwszym „polskim” monumentem odsłoniętym w centrum dawnego Breslau. Dlatego właśnie zdecydowano o postawieniu go na najważniejszym placu miasta, na miejscu zburzonego po wojnie konnego pomnika Fryderyka Wilhelma III, symbolicznie „sakralizując” tym samym wrocławski rynek. Celem artykułu jest przedstawienie zapomnianej dziś dyskusji na temat lokalizacji pomnika Fredry, do której zaproszono nie tylko decydentów, ale też mieszkańców miasta. W pracy zaprezentowano niepublikowane wcześniej koncepcje usytuowania pomnika w różnych, nieoczywistych dziś punktach Wrocławia.
    Źródło:
    Architectus; 2021, 3 (67); 45-54
    1429-7507
    2084-5227
    Pojawia się w:
    Architectus
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Geneza artystyczna pomnika nagrobnego Józefa Frageta na Starych Powązkach
    Artistic genesis of the history of the mausoleum of Józef Fraget at Old Powązki Cementary in Warsaw
    Autorzy:
    Wiraszka, Marta
    Powiązania:
    https://bibliotekanauki.pl/articles/449961.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    mausoleum
    cemetery
    neoclassicism
    Powązki
    Warsaw
    Berlin
    Gliwice
    Józef Fraget
    Leonard Marconi
    Johann August Borsig
    Johann Heinrich Strack
    Christian Daniel Rauch
    Thomas Evans
    Family Brand
    Opis:
    Neoclassical mausoleum of Józef Fraget (1797-1867) commemorating a French industrial entrepreneur and the founder of the first factory of clad goods in Poland was constructed at Old Powązki Cemetery in Warsaw between 1867 and 1869 (quarter A, row I). The author of the torso is Leonard Marconi, and the mold is believed to have been made by the “Lilpop, Rau i Loewenstein” factory in Warsaw. The original project embraced only the top, cast iron part of the tomb in the form of Doric aedicule with entablature and triangular pediment as well as the marble torso placed on prism pedestal located among four columns. The bottom, stone part, was executed later, approximately in 1913 in Władysław Tuszyński stone enterprise. The Mausoleum of Fraget is a replica of the monument situated in Berlin at St. Doro-thy’s Cemetery commemorating Johann August Borsig (1804-1854), the owner of the well-established metal factory in Europe. Its designer was an architect from Berlin, an appren-tice of Schinkl, Johann Heinrich Strack, and the maker of the bronze torso mold was a sculp-tor Christian Daniel Rauch. Three other mausoleums originated from the same model: the Brand family mausoleum at the Metallurgical Cemetery in Gliwice, (between 1865 and 1890), Tomas Evans mausoleum at the Evangelical Reformed Cemetery in Warsaw (second half of the 60s. the XIX century, currently non-existent) and in its slightly modified form, the tomb of the architect J. H. Strack at the St Dorothy’s Cemetery in Berlin (1880-1882). All the above-mentioned mausoleums except the monument decorating the tomb of the architect Strack, commemorated personalities from metallurgical industry. The particularity of the mausoleum of Józef Fraget consists in the use of cast iron as the main constructing element. It is a distinctive feature differing the mausoleum in question from the remaining exemplary monuments made of stone.
    Źródło:
    Saeculum Christianum. Pismo Historyczne; 2015, 22; 229-240
    1232-1575
    Pojawia się w:
    Saeculum Christianum. Pismo Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Antonii Messing twórca pomnika Panny Marii przed kościołem Reformatów i serii wzorowanych na nim nagrobków wzniesionych na cmentarzach Warszawy
    Antoni Messing- co-creator of the Sacred Virgin Marys statue located in front of the Reformed Church and co-author of series of tombstones patterned after it and raised at the cemeteries of Warsaw
    Autorzy:
    Wiraszka, Marta
    Powiązania:
    https://bibliotekanauki.pl/articles/449814.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    Warsaw
    The Palace of Wilanów
    The Powązkowski Demetry
    The Evangelical Augsburg Cemetery
    The Evangelical Reformed Cemetery
    The Orthodox Cemetery in Wola
    Henryk Marconi
    Antoni Lessing
    the statue of the Virgin Mary of the Immaculate Conception
    Opis:
    Antoni Messing (ca. 1821-1867) the owner of the stone workshop located in Warsaw on 6 Powązkowska Street (mtge. 27C) is currently most famous for one monument- the Statue of the Virgin Mary of Immaculate Conception which was placed in front of the Church of St Antony of Padua on Senatorska Street (1851). What made this monument different from other independently standing monuments was the use of lanterns which at evening time illuminated the statue of the Virgin (1853). The innovative idea spread not only around Warsaw, but also outside the city boundaries. References to the monument elevated by Messing were not limited to the way and form of illuminating the statue. The inventory research conducted on Warsaw cemeteries ena-ble the extraction of a group of tombstones imitating the shape and the decor of the plinth of the statue of the Virgin. The number of examples of this collection of tombstones numbers 19. Their execution dates back to the period 1853-1874 - with one exception only, all of them were elevated during the period of Antoni Messing’s ownership of the stone workshop. All of them represent the same commemoration in the form of a crucifix located on a plinth. Exam-ples can be separated into two groups. One, comprising 8 tombstones, the closest to the origi-nal, the other, comprising 11 examples preserves the architectural structure without the sculp-tural decor. The origin of the formal concept is to be traced in the project of Henryk Marconi’s garden vase designed for Wilanowski Park (ca. 1845-1851) as well as the finishing elements of the Stanisław and Antoni Potocki’s tombstones. Consequently, the contribution of Messing consists in the creation of the series of tombstones modeled on the statue of the Virgin Mary rather than the originality of the project.
    Źródło:
    Saeculum Christianum. Pismo Historyczne; 2016, 23; 181-190
    1232-1575
    Pojawia się w:
    Saeculum Christianum. Pismo Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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