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    Wyświetlanie 1-8 z 8
    Tytuł:
    Podróż do wnętrza miasta. Pierwsze wrażenia Franciszka Krzywdy-Polkowskiego z pobytu w mieście „drapaczów nieba.
    A journey to the centre of a city. Franciszek Krzywda- Polkowski’s first impressions of his sojourn in the city of ‘sky scrapers’.
    Autorzy:
    Ochęduszko, Rafał
    Powiązania:
    https://bibliotekanauki.pl/articles/560161.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    architektura Amryki XX wieku
    Nowy Jork w XX wieku
    Franciszek Krzywda-Polkowski
    Opis:
    In January 1925 on the pages of the Cracow journal ‘Architekt’ an article by Franciszek Krzywda-Polkowski was published. In the text entitled Impressions of the sojourn in the country of ‘sky scrapers’ the author described his memories from New York, where he started to work in 1924 for the architects office McKim, Mead & White. Special attention should be paid to the initial description of the very first moments spent in the city. The modern way of perceiving the city space, fully performed by Franciszek Krzywda-Polkowski in the quoted fragments, is characte- rised by abandoning the panoramic (static) perspective, typical for realistic poetics, for the benefit of the pedestrian’s perspective, which is determined by movement, changes of view points and removing the distance to the experienced space. Attractiveness of Franciszek Krzywda-Polkowski’s text, which undoubtedly comes as a new quality in Polish writing about architecture, derives from a few coinciding elements: an up-to-date topic, which New York was at that time and the discussion on acceptable heights of buildings in a city; the author’s writing skills, his courage in applying modern form of narration; also the character of his stay in New York – he was a traveler who, glancing ‘from the outside’, is able to notice the every-day life of the place where we happen to be in a more penetrating way.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2009, 3(13); 83-74
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    • odwiedzone
    Tytuł:
    Konkurs na malowidła do sali Sejmu w Warszawie (1929) w świetle polityki artystycznej i propagandowej II Rzeczypospolitej
    Competition for the paintings to the hall of the Sejm in Warsaw (1929) in the light of the artistic policy and propaganda of the Second Republic of Poland
    Autorzy:
    Myślińska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/1396744.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    malarstwo XX wieku
    sztuka polska
    sztuka oficjalna
    malarstwo monumentalne
    ikonografia
    Opis:
    The end of the Great War created multiple patronage opportunities, organized and distributed by the state. The development of modern art deepened art critics’ pejorative view on allegory, but this type of work still supported legitimacy of the reborn state, the achievements of Polish propaganda abroad and consolidation of the patriotic tradition. The interwar era was the time when the majority of the significant official decoration was created, by artists of modern art and even avant-garde artists. Twelve projects were qualified to the final stage of competition aimed at selecting the paintings to be placed in Sejm (House of Parliament). Zofia Stryjenska, Stanislaw Kaczor Batowski, Wlastimil Hofman, Stanislaw Gajewski, and Jan Wydra, just to name a few, took part in this contest. Two first prizes were awarded to Ludomir Slendzinski and Jozef Mehoffer, two second ones to Kazimierz Sichulski and Bronislaw Bartel. The winning works have been criticized as failing to comply with the official character of the interior. Even repetition of the competition was proposed. Finally the paintings have not been created. Between 1929 and 1938 amateur painter Antoni Tanski (1874–1943) created a painting of Polonia for the hall of the Sejm; the painting is currently located in the Jasna Gora Monastery in Czestochowa. Competition for the paintings for the hall of the Sejm underlined the value of allegory in updating the historical narration. By referring to the centuries-old tradition of performances, fear of regained independence and the new political and social organization of the Second Republic of Poland was expressed.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2015, 1(35); 35-47
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nowa historia najnowszej sztuki polskiej Anda Rottenberg -"Sztuka w Polsce 1945-2005"
    Autorzy:
    Markowska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/560072.pdf
    Data publikacji:
    2006
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    polska sztuka XX / XXI wieku
    Anda Rottenberg
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2006, 1(1); 95-100
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Na nowo patrzeć i dotykać? Znaczenie tradycyjnych materiałów w plastyce współczesnej na przykładzie użycia alabastru w XX i XXI w. (cz. I)
    To look and touch anew? The meaning of traditional materials in modern sculpture. On the example of alabaster in the 20th and 21st centuries (part I)
    Autorzy:
    Lipińska, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/560108.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    rzeźba XX i XXI wieku
    alabaster
    Opis:
    The paper discusses the issue of artistic attitudes towards traditional materials in the era of crucial changes the sculpture medium has witnessed from the beginning of the 20th century. This problem is presented on the example of alabaster: material, which has been artistically used since antiquity. Its natural properties, as well as its relationship with other important materials (e. g. marble), became a starting point for the creation of certain cultural notions and symbolic associations attached to alabaster in the course of time. The question: if and how alabaster functions in modern sculpture arose from the long-term occupation of the author with the early modern alabaster sculpture and its symbolics. In the first part of the paper the summary of this research has been presented: next to sculptural properties (relative softness, translucency) and short overview of the typical genres where alabaster was applied (small-scale sculpture, relief, tomb sculpture, vessels, lamps), the main currents of opinion surrounding the material have been summarized (alabaster as a symbol of chastity, evangelical symbol of the human body of Christ, attribute of female body). From this perspective selected examples of the alabaster usage by important figures of modern sculpture have been discussed. The first part of the essay concerns the development in the 1st half of the 20th century, when alabaster found appreciation among the followers of the direct carving movement. The alabaster works of Henri Gaudier-Brzeska, Henry Moore, Barbara Hepworth, John Skeaping and Jacob Epstein have been analysed in order to find out how these ‘progressive’ sculptors dealt with the material, which - especially in Great Britain - was loaded with tradition. The discussed examples show a wide range of attitudes: from the dialogue with traditional meanings (translucency and reaction on light as the sign of transcendence) to the exploration of entirely new potentials (alabaster as primal matter loaded with natural power of rocks and atavistic instincts).
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2009, 3(13); 3-18
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Joanna Macalik, "Tak oto stoję". Dawny kościół imienia Marcina Lutra we Wrocławiu, Wrocław 2011.
    ‘Here I Stand’. The Former Martin Luther Church in Wrocław, Wrocław 2011
    Autorzy:
    Gruk, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/560100.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    wrocławska architektura sakralna XIX i XX wieku
    Wrocław
    kościół imienia Marcina Lutra we Wrocławiu
    Opis:
    Joanna Macalik’s book is the first monograph of the not preserved Martin Luther Church, which was situated till 1945 in Przedmieście Szczytnickie [Szczytnickie Suburb] in Wrocław. The discussed temple was a jubilee church erected in 1883 to celebrate the 400th birthday anniversary of the Father of the Reformation. The book presents possibly complete picture of the church, what has been achieved by the analysis of the temple placement in the city topography, the analysis of its architectural form, style and iconography of the building, also thanks to combining the subject of studies with a wide historical, social, political and religious background of Wrocław at the end of the 19th and the first half of the 20th centuries. The study makes a satisfactory use – occasionally for the first time – of the written records kept in Wrocław and Berlin archives. The author also made an attempt to move the considerations from the city context onto the wider, all-German background by characterising the selected jubilee churches from the area of Germany in one of the chapters. Therefore the discussed elaboration is an important study in terms of art history, but also for the history of Wrocław – especially 19th-century religious culture and its meaning in changes that the city underwent in this century. The reviewed book is the ninth volume in the series ‘Biblioteka Dawnego Wrocławia’ [‘Library of Old Wrocław’] edited by Prof. Jan Harasimowicz.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2012, 3(25); 92-95
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Anna Sierzpowska-Zborowska - polska protektorka i modelka Modiglianiego.
    Anna Sierzpowska-Zborowska – Modigliani’s model and polish protector.
    Autorzy:
    Dmochowska, Lila
    Powiązania:
    https://bibliotekanauki.pl/articles/560057.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    Paryż I połowy XX wieku
    École de Paris
    Amedeo Modigliani
    Leopold Zborowski
    Anna Sierzpowska-Zborowska
    Opis:
    The following article on Anna Sierzpowska-Zborowska, Modigliani’s model, is a cue of progress in studies over biography dedicated to a Polish art dealer and poet – Leopold Zborowski (known in his circle also as Zbo or Zboro). He gained his world fame as a protector of many artists who built up international bohème of the first decades of the 20th century, defined as ‘École de Paris’. Anna Sierzpowska was Zborowski’s life companion. The studies resulted in a statement that she was equally to her husband engaged in promotion of the artists who were related with Zbo by friendship or con- tract. In the text Anna Sierzpowska’s fascinating journey from provincial Lublin to Paris is followed. Within this article, as well as in the whole study currently in preparation, an attempt has been made to separate truth from legends referring to the Zborowskis and an objective approach to many people closely bound to the couple. The study has been ordered up on the basis of very few academic texts and enriched with new bibliography sources: letters, poems and recollections of people from the art world who were so deeply impressed by the marchand and his wife’s personalities that they decided to dedicate to the couple some pages of their own memoirs. The image of the Zborowskis has been completed with archival photos and a broad spectrum of portraits executed for Anna and Leopold by the most outstanding representatives of Parisian bohéme.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2012, 3(25); 32-53
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Na nowo patrzeć i dotykać? Znaczenie tradycyjnych materiałów w plastyce współczesnej na przykładzie użycia alabastru w XX i XXI w. (cz. II).
    To look and touch anew? The meaning of traditional materials in the modern sculpture. On the example of alabaster in the 20th and 21st centuries (part II)
    Autorzy:
    Lipińska, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/560106.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    rzeźba XX i XXI wieku
    Arte povera
    Eduardo Chillida
    Cristina Iglesias
    Tacita Dean
    Anish Kapoor
    Opis:
    The text makes up the second part of the paper presented in the previous issue of ‘Quart’ quarterly. While there the usage of alabaster in the sculpture of the 1st half of the 20th century has been demonstrated, in the current issue the development in the following decades of the 20th century as well as of the early 21st century has been sketched. In the opening part of the paper it has been emphasised that in the time when countless new materials have been introduced into the fine arts and the borders between art genres became vague, alabaster was even more marginalised. Although it did not disappear for good, it had to compete with synthetic materials as polyester, in which comparable effects could have been achieved but they had advantage over traditional materials as they were easier to work with and cheaper. The case of the late oeuvre of the Polish sculptress Alina Szapocznikow (1926-1973) provides perfect illustration for this phenomenon. In her ‘fetish-lamps’, combining polyester with electric light, the artist broached the issues previously often realised in alabaster: female body, light, fragility and impermanence. In the following the position of alabaster in the time of the triumph of arte povera and its new attitude towards art material have been considered. The author noticed that, even though this artistic movement has originated in Italy where alabaster has been discredited by the Volterran mass production, the material has apparently not been critically demythologized as it was the case of marble. Their roots in arte povera have the contemporary works of Marisa Merz or Ettorre Spalletti who have succeeded in retrieving in their abstract works rudimental properties of alabaster. Such interpretation of traditional material is rather exceptional. Most of the important sculptures in alabaster realised since the 1960s relate somehow to the tradition, if not formally then at least thematically. Eduardo Chillida in his extraordinary ‘architectural’ works as Homage to Kandinsky or Homage to the sea exploited the translucency of alabaster, its ability to let light inside and in this way to give shape to the inner space. The other traditional motif reinterpreted by contemporary artists are alabaster windows. It has been taken up by Cristina Iglesias (Untitled – Alabaster room) and Tacita Dean (Alabaster drawings). British artist Alison Wilding combines alabaster with synthetic materials as resin to look into the problem of duality of objects (Alabastros). She pursues in reinterpretation of old meanings, as in her alabaster work Harbour which stands for Entombment in the series of works being contemporary interpretation of the Passion of Christ in the abstract language. The last discussed artist – Anish Kapoor discovered alabaster for him in 1999 (Untitled). For him as well fundamental is the duality of the form, however in this case derived from the properties of the stone itself. Rough crust of alabaster block contrasts with its glowing polished inner core. Common for most of these artists is undoubtedly an attempt to regain the spirituality in art. They consciously use for this purpose the material for ages regarded as mystic. Summarising the author considers the reasons of the mystic interpretation of alabaster.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2009, 4(14); 3-17
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Uśmiech Kota z Cheshire, czyli o ilustracji angielskiej.
    Autorzy:
    Wincencjusz-Patyna, Anita
    Powiązania:
    https://bibliotekanauki.pl/articles/560195.pdf
    Data publikacji:
    2007
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    XIX i początek XX wieku w Anglii
    Arts and Crafts
    William Hogarth
    Thomas Bewick
    William Blake
    Edward Lear
    Sir John Tenniel
    Beatrix Potter
    Ernest H. Shepard
    XIX wieczna ilustracja
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2007, 1(3); 27-45
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

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