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    Wyświetlanie 1-4 z 4
    Tytuł:
    Między Wrocławiem a Lwowem. Sztuka na Śląsku, w Małopolsce i na Rusi Koronnej od XVI do XVIII wieku. Konferencja naukowa w Krakowie (16-18 listopada 2009 roku).
    Scientific conference Between Wrocław and Lviv. Art in Silesia, Lesser Poland and Red Ruthenia from the 16th to 18th Century in Cracow (16–18 November 2009)
    Autorzy:
    Oszczanowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/560155.pdf
    Data publikacji:
    2010
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    Śląsk od XVI do XVIII wieku
    Wrocław od XVI do XVIII wieku
    Małopolska od XVI do XVIII wieku
    Ruś Koronna
    Lwów od XVI do XVIII wieku
    Opis:
    On 16–18 November 2009 a scientific conference Between Wrocław and Lviv. Art in Silesia, Lesser Poland and Red Ruthenia from the 16th to 18th Century took place in Cracow. The idea of the meeting was submitted two years ago by the members of the Stanisław Wyspiański Circle of Art History Students at the Jagiellonian University and the Inventory Circle of Art History Students at the University of Wrocław. They were supported by the academics from the Institutes of History of Art at the Jagiellonian University and the University of Wrocław. The attractiveness of the topic proposed by the organisers was confirmed by extraordinary interest in this scientific event. The broadly ‘open’ subject spectrum resulted in over 50 papers submitted for the conference, mainly from academic, research and museum centres. The session was devoted to art of the three regions – Silesia, Lesser Poland and South-East Kresy (Red Ruthenia) in Early Modern times. Its aim was to demonstrate similarities and differences as well as mutual relations and artistic contacts within the mentioned areas among others, in operating the same composition schemes, patterns or introducing new solutions, artists and art works’ migrations. The papers presented questions referring to artistic relations in their broad sense between the mentioned above regions, although the majority of the speeches dealt with only one of them. Moreover, art of Silesia and Kresy was seen as art of the cultural borderland and in some cases of the specific bridge connecting Lesser Poland with more distant areas of Europe. One of the conference aims was also to enable both scientists and doctoral as well as master degree students a common presentation of their research results in both centres, experience exchange and imaginative discussion.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2010, 1(15); 56-62
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O dwóch rzeźbach z początku wrocławskiego renesansu. Na marginesie twórczości Andreasa Walthera.
    On two sculptures from the beginning of Renaissance in Wrocław. On the margin of Andreas Walther’s artistic work.
    Autorzy:
    Oszczanowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/560078.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    Andreas Walther
    XVI w. we Wrocławiu
    Opis:
    The following article is dedicated to two valuable sculptures that were created in the early Renaissance, i.e. the first half of 16th century, in Wrocław. The first one is a sandstone plaque with a sculpted and painted coat of arms of Wrocław placed under the clock on the western wall of the Town Hall [fig. 1]. In the bottom right corner and in the front of the engaged column base it has a relief of a cartouche with the AW monogram, which undoubtedly refers to the author of the work [fig. 2]. This relief belongs to the earliest ones that depict a new and improved coat of arms which Wrocław received in 1530 from the emperor Charles V. Although on the band placed in the relief we can find the date 1534 (MDXXXIIII), still from the archive sources we know that no sooner than on 18 October or on 18 December 1536 it was placed on the Town Hall tower. This currently undoubted realisation by Monogrammist AW has become a pretext to analyse again the œuvre of this sculptor and to make attempts to identify him with Andreas Walther, an artist active in Wrocław in the second third of 16th century. The second art work is a monument that has been defined for many years as a tombstone of “knight Haynold” or “one of the members of the Haunold family”, or “an anonymous representative of the Haunold family”. The monument is placed on the eastern wall of the Dumlosys Chapel in St. Elizabeth [fig. 6]. Until now this presentation of a kneeling in front of a knight crucifix has been dated consequently at ca. 1550. The analysis of the so-called Maximilian armour, which is worn by the knight, allows a statement that in the case of this sculpture we deal with an art work from the beginnings of the 1530s. And this, in turn, enable us to propose an identification of a person presented in the tomb. He may be the president of the City Council and the district head (Landeshaupt- mann) of the Duchy of Wrocław, Achatius (vel Achaz) von Haunold (b. after 1478, d. 6 January 1532). He became famous as an outstanding representative of the first generation of Wrocław followers of Doctor Martin Luther’s teaching and a military leader (Heerführer) of the Silesian army, which supported Vienna defenders in 1529. Haunold belonged to a group of the ennobled patriciate of Wrocław (so called Landadel), he was also praised the dignity of emperor’s councillor and eques auratus. Undoubtedly he had knightly and nobleman’s ambitions – it was confirmed by reaching the Czech noble state in 1523. Stylistic forms of this tomb allow us to identify this monument as a work executed by the Wrocław sculptor who was also an author of Peter Rindfleisch’s epitaph (ca. 1535) in St. Elizabeth Church among others.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2012, 4(26); 91-99
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kościół św. Marii Magdaleny – jako depozytariusz przeszłości i wyzwanie dla przyszłości. Ekspozycja plenerowa Inwentaryzatorskiego Koła Naukowego Studentów Historii Sztuki Uniwersytetu Wrocławskiego
    Autorzy:
    Oszczanowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/560096.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    Kościół św. Marii Magdaleny
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2009, 3(13); 84-89
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Monachium i Praga ok. 1600 r. w kontekście badań nad sztuką rudolfińską. Na marginesie publikacji: München - Prag um 1600, hrsg. von L. Konečný, B. Bukovinská, Praha 2009 ("Studia Rudolphina". Sonderheft)
    Munich and Prague ca. 1600 in the context of studies on Rudolphian art. On the margin of the publication: München – Prag um 1600, hrsg. von L. Konečný, B. Bukovinská, Praha 2009 („Studia Rudolphina”. Sonderheft)
    Autorzy:
    Oszczanowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/560217.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    Monachium i Praga ok. 1600 r.
    Opis:
    ‘The discovery’ of art in the times of the emperor Rudolph II of Habsburg’s reign remains a sort of phenomenon which, however, we have been accustomed to. Therefore nothing else but Prague from the turn of the sixteenth century – with its eccentric impe- rial resident and the international circle of artists gathered around him – we tend to associate most with this bizarre epoch in the history of art in the Early Modern times. The interest in this period, in this patronage, in these artists ‘has come’ along with the growing fascination with the art of Mannerism. Since the turn of the 1960s we have observed a systematic development in research on the ‘artistic phenomenon’ of art which was created in Rudolph’s environment (often tersely referred to as ‘school of Prague’). Since the very beginning this research has had an international character. As the most recent proof of this character comes issuing – in the ‘Studia Rudolphina’ bulletin published since 2001 by the Insti- tute of History of Art at the Science Academy of The Czech Republic (Ústv dějin uměni AV ČR) – in 2009 the first ‘special fasci- cule’ (so called Sonderheft) which includes the papers from a scientific meeting devoted to similarities and differences between art at the Habsburgs court in Prague and the Wittelsbachs court in Munich around the year 1600, held in the Czech capital city on 22–23 March 2007. The co-organisers of the symposium were the Institute of History of Art at the Science Academy of The Czech Republic and the Staatliche Graphische Sammlung (State Graphic Collection) in Munich. The discussed topics were the natural continuation and specific addenda to the exhibition entitled ’In Europa zu Hause: Niederländer in München um 1600’ (‘In Europe At Home: The Dutch in Munich ca.1600’) organised by Thea Vignau-Wilberg on the turn of 2005 in Munich. The relations between these two important artistic centres: Prague and Munich around 1600 have been known for a long time – after all such artists as Hans von Aachen, Hans Hoffmann, Joris Hoefnagel or Aegidius II Sadeler and Caspar Lehmann co- created, first in the capital city of Bavaria, then in the capital city of the Czech Kingdom, their metropolitan power. Searching an answer for the questions: whether in ‘global’ culture of courtly Europe at the turn of the sixteenth century it is still possible to distinguish local schools (i.e. school of Prague and school of Munich), if these two centres’ achievements may be considered together or separately, what were the differences and what were the common accomplishments – outweighed the sessions of the symposium.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2009, 4(14); 121-127
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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