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    Wyświetlanie 1-11 z 11
    Tytuł:
    Remarks on the Margin of Wojciech Włodarczyk’s Article “1989. On the Concept of Modernism”
    Autorzy:
    Turowski, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/909509.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Modernism
    avant-garde
    Poznań art history
    Piotr Piotrowski
    Opis:
    A polemical response to Wojciech Włodarczyk’s article published in this issue of Artium Quaestiones
    Źródło:
    Artium Quaestiones; 2019, 30; 271-273
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Interpretacja jako inspiracja? Dekoracja drzwi do kruchty katedry poznańskiej
    Autorzy:
    Ryba, Grażyna
    Powiązania:
    https://bibliotekanauki.pl/articles/909468.pdf
    Data publikacji:
    2018-09-19
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Poznań cathedral
    interpretation
    Ireneusz Daczko
    Bogdan Fijałkowski
    iconography
    Opis:
    In the southern porch of the Poznań cathedral there is a swinging door etched inbronze and brass, made in 1972. Together with a bronze bas-relief placed above, itwas the most important element of the decoration of the passage from the residenceof Poznań archbishops to the cathedral. Both artworks were made by Ireneusz Daczkoand Bogdan Fijałkowski – graduates of the Poznań Academy of Fine Arts. Theirproject was inspired by Rev. Stefan Tomaszkiewicz, who supervised constructionwork in the cathedral, and Rev. Bolesław Dzierwa, involved in the restoration of thecathedral in Gniezno. Both priests developed an original iconographic program of the porch decoration, based upon angelistic, christological, and mariological symbolismand texts in Polish, Latin, and Greek.The figures of archangels Gabriel and Michael in the door panels have a borderwith inscriptions, monograms, angels, and zoomorphic motifs, and objects intertwinedwith climbing plants. The decoration of the door and the bas relief showingthe Assumption of Mary includes many references to the liturgy of the breviary,and points to the clergy as the recipients of the ideas represented in the porch iconography.The main argument of the paper is that the iconography of the Poznań door derivesfrom the texts by Lech Kalinowski and, above all, Zdzisław Kępiński, who in hisarticle, “The Symbolism of the Gniezno Door,” was the first to emphasize the significanceof the border and the connection of its decoration with the correspondent figuralpanels of the bronze Gniezno door.
    Źródło:
    Artium Quaestiones; 2015, 26; 171-193
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Remarks on the “Margin”
    Autorzy:
    Włodarczyk, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/909543.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Modernism
    avant-garde
    Andrzej Turowski
    Piotr Piotrowski
    Poznań art history
    Opis:
    A polemical reply to Andrzej Turowski’s response to the autor’s article published in this issue of Artium Quaestiones
    Źródło:
    Artium Quaestiones; 2019, 30; 275-278
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Das Kaum Noch Sichtbare Sichtbar Machen
    Autorzy:
    Heck, Kilian
    Powiązania:
    https://bibliotekanauki.pl/articles/909459.pdf
    Data publikacji:
    2018-09-08
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Nineteenth Century Painting
    Carl Blechten
    faraglionie painting
    landscape
    Poznań National Museum
    Opis:
    The so-called faraglioni painting (Faraglioni-Landscape), painted in ca. 1837 by Carl Blechen (1798-1840) and held at the National Museum in Poznań is one of his most unusual achievements. What can be seen in the picture are rocks protrudingnear the shore of Capri, the so-called faraglioni – a characteristic motif of romantic painting. Still, Blechen was interested in more than just a mimetic representation ofthe rocks. Experimenting with extremely changing light, he intended to find the limits of visibility. Such attempts at playing with optical phenomena were typical for his works painted after his visit in Italy in 1829/1830. Examining color effects conditioned by changes of light was for Blechen a kind of necessity. It should be remembered that dioramas were particularly popular in that period. In Berlin they were shown, among others, by the Gropius brothers for whom, according to the records, Blechen was working. In dioramas, illumination from the back was just as obvious as presenting pictures in changing light. Blechen found the changing intensity of illumination interesting, which can be seen in his paintings.
    Źródło:
    Artium Quaestiones; 2016, 27; 57-65
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wejście smoka
    Autorzy:
    Poprzęcka, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/909505.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    history of art history
    conference
    Poznań
    Association of Art Historians
    institutional critique
    Opis:
    The paper is a reminiscence of my first meeting with the colleagues from the Institute of Art History of Adam Mickiewicz University, which took place at an annual conference of the Association of Art Historians in 1974, titled “Reflection on Art.” Choosing an unusual title, I wanted to convey the impetus with which a group of young art historians from Poznań entered the decent and somewhat stagnant stage of Polish art history. The critique they presented was directed against Polish academic institutions, the problematic of the conference, the empty rituals of academic life, etc. Even though I did not accept all their objections, the heated debate suddenly turned out for me to be a liberating factor, stimulating continuous critical thinking which is an antidote for spiritual and intellectual captivity.
    Źródło:
    Artium Quaestiones; 2019, 30; 393-398
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Enter the Dragon
    Autorzy:
    Poprzęcka, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/909520.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    history of art history
    conference
    Poznań
    Association of Art Historians
    institutional critique
    Opis:
    The paper is a reminiscence of my first meeting with the colleagues from the Institute of Art History of Adam Mickiewicz University, which took place at an annual conference of the Association of Art Historians in 1974, titled “Reflection on Art.” Choosing an unusual title, I wanted to convey the impetus with which a group of young art historians from Poznań entered the decent and somewhat stagnant stage of Polish art history. The critique they presented was directed against Polish academic institutions, the problematic of the conference, the empty rituals of academic life, etc. Even though I did not accept all their objections, the heated debate suddenly turned out for me to be a liberating factor, stimulating continuous critical thinking which is an antidote for spiritual and intellectual captivity.
    Źródło:
    Artium Quaestiones; 2019, 30; 237-242
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    L’Imagination au pouvoir: historia sztuki w czasach kryzysu lat 60./70
    Autorzy:
    Turowski, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/909504.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    art history in Poznań
    art history
    theory and methodology
    avant-garde
    1968
    contestation
    Opis:
    The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studiedin terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.
    Źródło:
    Artium Quaestiones; 2019, 30; 399-413
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    L’Imagination au pouvoir: Art History in the Times of Crisis, 1960s – 1970s
    Autorzy:
    Turowski, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/909518.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    art history in Poznań
    art history
    theory and methodology
    avant-garde
    1968
    contestation
    Opis:
    The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studied in terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.
    Źródło:
    Artium Quaestiones; 2019, 30; 243-256
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Facing the Work of Art. Memories of My Student Years
    Autorzy:
    Skubiszewski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/909539.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    University of Poznań – art history
    University of Poitiers – art history
    methodology of art history
    art history around 1950
    Opis:
    The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957-1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar.
    Źródło:
    Artium Quaestiones; 2019, 30; 7-20
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Spuścizna niemiecka, kierunek polski. Zbiór reprodukcji Seminarium Historii Sztuki na Uniwersytecie Poznańskim (1919–1939)
    A German Legacy, a Polish Direction. The Collection of Reproductions from the Art History Seminar at the University of Poznań (1919–1939)
    Autorzy:
    Kłudkiewicz, Kamila
    Powiązania:
    https://bibliotekanauki.pl/articles/32348111.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    collections of reproductions
    photo archives at the universities
    the Seminar of Art History at the University of Poznan
    Opis:
    In 1919, the authorities of the newly established University of Poznan took over the buildings and movable property of the German Royal Academy, which had functioned in Poznan between 1903 and 1918. The Seminar of Art History, which was organised at the time, acquired, among other things, a collection of 4,000 slides and 4,000 reproductions which had been used in teaching art history at the German university. Thanks to the first Polish professor of art history, Szczęsny Dettloff, the collection began to grow. Dettloff, one of the fathers of academic art history in Poland, understood perfectly the need to expand the university’s research workshop: the library and the reproduction collection. He built a Polish photo library at the University of Poznan on the basis of the existing German reproduction collection and a set of diapositives acquired in 1919 from the Museum of Wielkopolska (the collection after the German Kaiser Friedrich Museum). The article describes the reproduction collection in the inter-war period, indicates its state of preservation and analyses the role of the local collection in the academic teaching of art history (in the context of the programme of studies, but also of trips for students).
    Źródło:
    Artium Quaestiones; 2022, 33; 135-161
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Przed dziełem sztuki. Wspomnienia ze studiów
    Autorzy:
    Skubiszewski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/909541.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    University of Poznań – art history
    University of Poitiers – art history
    methodology of art history
    art history around 1950
    Opis:
    The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957–1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar. 
    Źródło:
    Artium Quaestiones; 2019, 30; 307-321
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-11 z 11

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