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    Wyświetlanie 1-9 z 9
    Tytuł:
    Władysław Podlacha (1875-1951)
    Autorzy:
    Zlat, Mieczysław
    Powiązania:
    https://bibliotekanauki.pl/articles/707040.pdf
    Data publikacji:
    2012
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Podlacha
    art history
    Polska
    historia sztuki
    Polska
    Opis:
    Podlacha studied history, art history, logic and the methodology of sciences at the University of Lvov. After college, whilst working as a high school teacher, he undertook, in the region of Bukowina, pioneering fieldwork on the Late Byzantine wall paintings found in a then almost completely unknown group of Orthodox churches. He published his first few articles on the paintings as well as a monograph, which became his doctoral dissertation. After further studies with A. Goldschmidt and W. Weisbach in Berlin, he qualified as a university lecturer at the University of Lvov. From then on he was permanently linked with this institution as professor and leader of the lively humanistic centre which formed around the two departments of art history. He also lectured during the Second World War: under Soviet occupation at the Ukrainian University in Lvov, and under German occupation – at the secret Polish university in the same city. Following the incorporation of Lvov into the Soviet Union, he was deported and moved to Gliwice, where he organized from scratch the department of art history at the newly established Polish university in Wrocław. He specialized in medieval painting, and his publications in this area related to the major illuminated codices in Poland, as well as to book illumination in Silesia. The main areas of Podlacha’s research were the theoretical foundations and methods of art history, which for decades formed the bulk of his lectures and seminars, as well as being the chief theme of his long-awaited book, which was to be his opus vitae; accepted for publication (in 1949), it was rejected by the communist authorities for political and ideological reasons.
    Źródło:
    Rocznik Historii Sztuki; 2012, 37; 21-36
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zdzisław Kępiński (1911-1978)
    Autorzy:
    Suchocki, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/707053.pdf
    Data publikacji:
    2012
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Kępiński
    art history
    Polska
    historia sztuki
    Polska
    Opis:
    This article introduces Zdzislaw Kepiński and his work, as seen from a methodological perspective. He was an art historian associated with the University of Poznan (now A. Mickiewicz University) and the National Museum of Poznan. Kepinski specialized in medievalism and the art history of the 19th and 20th centuries. He was also a literary historian and painter, who taught painting at the local academy of fine arts. Although unwilling to make theoretical and methodological statements, he is presented here as the most outstanding iconologist in Polish art history (confirmed by his study on the Romanesque bronze doors in Gniezno). This does not mean that he was the best at understanding and implementing the principles of this method, only that he greatly enriched it. His attitude can best be described as a combination of a specific kind of dilettantism and a relative independence from institutional constraints (though he was a Marxist), with the freedom of movement between disciplines and research methods formulated in response to the challenges posed by works of art. Dealing with such artists as Veit Stoss, Jan van Eyck, Stanislaw Wyspiański or the Impressionists, the scholar tried on the one hand to reconstruct their imaginative world, and on the other the epoch in which they worked. Kępiński also wrote about contemporary artists, with whom he maintained long-lasting friendships, worked with or mentored. Kepinski contributed many texts in this field, brief but important, especially the catalogues of exhibitions. As a result, he significantly contributed to the establishment of the canon of Polish art of the third quarter of the 20th century.
    Źródło:
    Rocznik Historii Sztuki; 2012, 37; 51-67
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wojsław Molé (1886-1973)
    Autorzy:
    Sulikowska, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/707024.pdf
    Data publikacji:
    2012
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Molé
    art history
    Polska
    historia sztuki
    Polska
    Opis:
    Vojeslav Mole, a scholar of Slovenian origin (b. Kanal ob Soci, Slovenia, d. Eugene, Oregon, USA), was throughout his life associated with the Jagiellonian University of Cracow, where he was a professor. In 1945, he became Chair of the Department of Art History of Slavonic Nations, and in 1952, of the Department of History of Medieval Art and the Group of Art History Departments. During the years 1956 – 1960 he was director of the Institute of Art History. Mole was a pioneer of Early and Eastern Christian Studies in art. This article focuses on his work published in Polish, since it mostly influenced Polish art history. The majority of Mole’s books on art are university textbooks. Many were written for students. His main interests lay with the genesis of Early Christian art, Byzantine Art and the art of East and South Slavs. Mole explored the relationship between Eastern and Western culture and the evolution of Orthodox art. One of his most interesting publications was the comprehensive paper “Studies on the Art of the First Millennium AD: Art of the eastern periphery of the ancient world during the first half of the First Millennium and its importance to Early Medieval Art”. In it he attempted to identify the cultural components of the beginnings of Early Christian art, which also indirectly impacted on the emergence of Byzantine art and Orthodox Slavonic art. Much of his work from the 1950s and 1960s reveals a Marxist political orientation, promoted at that time; for instance, an interest in national characteristics in art alongside a lack of interest in its religious aspects. Molè’s textbooks have largely lost their value although they are still an interesting testimonial to the past and the identity of 20th-century art history.
    Źródło:
    Rocznik Historii Sztuki; 2012, 37; 39-48
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Marian Sokołowski (1839-1911)
    Autorzy:
    Kunińska, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/707037.pdf
    Data publikacji:
    2012
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Sokołowski
    art history
    Polska
    historia sztuki
    Polska
    Opis:
    Marian Sokołowski defined the identity of art history in Poland at the end of the 19th century. Setting aside institutional reasons (he worked primarily with Jagiellonian University) and the great commitment to the tradition of the so-called “Cracow School”, the model of the discipline he developed has survived well into the 20th century. This article attempts to introduce M. Sokołowski’s history of art and examine it at its deepest level, that is, at the level of the structures which determine the presentation of the results of one’s research, and even their scope. The scholar’s biography allows us to not so much identify specific facts, as to see the environment in which the discipline was formed, and the range of its concepts. It also meets the semiotic demand placed on the study of history to bring back the subject of the history. Art criticism and journalism, areas neglected thus far, are restored and treated here as the result of a certain philosophy of the discipline, with its deep commitment to the present time. The next section of the article presents the mechanisms of constructing a complete picture of the Kingdom of Art, which impost a formal approach on the level of the analysis of disegno, and define, after allgemeine Kunstgeschichte, the task of an art historian as tidying up an overgrown garden. This picture of interconnected links in the chain allows us to consider Polish art as part of the garden of European art, whilst the formal differences with oriental art emphasize the significant role of Polish art history. Finally, we are reminded of art history’s involvement in the making of contemporary art, its educational role in society.
    Źródło:
    Rocznik Historii Sztuki; 2012, 37; 7-19
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Lech Kalinowski (1920-2004)
    Autorzy:
    Olszewska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/707124.pdf
    Data publikacji:
    2012
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Kalinowski
    art history
    Polska
    historia sztuki
    Polska
    Opis:
    This article is devoted to the research methods of Lech Kalinowski (b. and d. Cracow). An exponent of the Cracow University art. historical scene, he remains one of the most influential representatives of the discipline in post-war Poland. This study is based on an analysis of his published works combined with elements of his biography, as well as on information gathered during interviews with his colleagues. The scholar is portrayed as an art historian who in his work consistently used terms and categories specific to the era and environment in which the given work was created. He was one of the first researchers to successfully include elements of the history of artistic doctrines in his interpretations. According to earlier authors who wrote about Lech Kalinowski, he is an art historian who made use of the method of iconological interpretation. At the same time, Kalinowski analysed works of art not only from the point of view of their ideological, but also their artistic content. He therefore belonged to the class of iconologists sensitive to the form, acknowledging that it is an important vehicle of meaning. Not only was he one of the first to introduce the method of iconographic analysis in Poland, as utilised by the majority of Polish historians in the second half of the twentieth century, but he was one of the few who were able to develop it creatively. The principles applied by the scholar when examining a work of art can be summarized in three points: first, check; second, look; third, take care of language. Accordingly, at the centre of his investigations, the Cracow scholar always placed the work of art itself, which he carefully examined, measured and described.
    Źródło:
    Rocznik Historii Sztuki; 2012, 37; 69-80
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Widzieć i rozumieć malarstwo - o poglądach Mieczysława Porębskiego
    To see and to understand painting - on Mieczysław Porębskis ideas
    Autorzy:
    Sosnowska, Joanna M.
    Powiązania:
    https://bibliotekanauki.pl/articles/707106.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Porębski
    art history
    art theory
    art criticism
    20th century
    Polska
    historia sztuki
    teoria sztuki
    krytyka sztuki
    XX wiek
    Polska
    Opis:
    This article argues that the academic works of Professor Mieczysław Porebski and therefore his views on art and artistic choices constitute a closed set, the framework of which was outlined at the beginning of his work as a critic and art historian. Texts written in his youth were reprinted many years later, the scholar constantly returned to research problems undertaken earlier, and he wrote about artists whom ideologically he had been associated with as early as during the war and immediately after. As he got older new problems and new artists appeared, but they always fi tted into an order established at the beginning of his career. As a scholar, Mieczysław Porebski had indeed a predilection for organizing – for setting boundaries (The Boundary of the Contemporary), defining the rhythms of history (Interregnum), and referring to scientifi c theories (Art and Information). Another characteristic feature of Porebski’s achievements was his very personal approach to the subject of research and to criticism of works of art. He repeatedly stressed that he only studied paintings that he had direct access to and therefore the possibility of contemplation and refl ection. This produced visible and outstanding results during his work at the National Museum in Kraków. Porebski was not so much an excellent curator – in the sense that we now think of this function – but rather the author of carefully planned content-based programmes; he also had an impact on the way exhibitions were displayed. Some went down in the history of Polish twentieth century art, in particular the exhibition Seeing and Understanding (1975). The third element that dominates Professor Porebski’s scholarly and critical legacy was his attitude to Polishness and his thesis on the indelible, Sarmatian quality of our culture and an undeniable weak spot for the work of Jan Matejko. All this meant that the scholar’s attitude towards painting, both that of the old masters and modern, was constant.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 27-40
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Powrót do innej przyszłości. Zmiana koncepcji obrazu w myśli Mieczysława Porębskiego (1948, 1957)
    Return to another future. The change in conception of picture in Mieczysław Porębskis thougth (1948, 1957)
    Autorzy:
    Juszkiewicz, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/707114.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Porębski
    art history
    art theory
    art criticism
    20th century
    Polska
    historia sztuki
    teoria sztuki
    krytyka artystyczna
    XX wiek
    Polska
    Opis:
    In Przeglad Artystyczny which in 1957 distanced itself openly from socialist realism, Mieczysław Porebski (until then the editor in- chief of the magazine) published an article entitled Iluzja, przypadek, struktura (Illusion, accident, structure), a kind of manifesto of the new, abstract painting. In announcing it, Porebski used a lot of ideas and fragments drawn almost directly from his text of nine years’ earlier, written for the catalogue of the First Modern Art Exhibition in the Palace of Fine Arts in Kraków. It might seem that years later the author simply returned to his refl ection on modern art that had been interrupted by socialist realism, and continued it without further hindrance, according to its natural dynamics. But such a way of thinking would not refl ect the truth apparent upon comparing the two texts by Porebski, and would simultaneously be a metaphor for the most common view of socialist realism in Polish art history, as a kind of break in the natural development of artistic creativity, leaving at best an aversion for socially engaged art. An analysis of the changes made by Porebski in the newly adapted parts of the earlier text shows how the socialist realist pressure changed the concept of modern painting formulated in 1957, its spatial structure, and the status of meaning of the work of art.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 51-58
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Metoda jako gra. Mieczysława Porębskiego metodologia badań nad sztuką
    Method as game. Mieczysław Porębskis methodology of art research
    Autorzy:
    Kasperowicz, Ryszard
    Powiązania:
    https://bibliotekanauki.pl/articles/707045.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Porębski
    art history
    art theory
    art criticism
    20th century
    Polska
    historia sztuki
    teoria sztuki
    krytyka artystyczna
    XX wiek
    Polska
    Opis:
    Mieczysław Porebski was one of the most important Polish art historians of the twentieth century. An outstanding interpreter of nineteenth and twentieth-century art, he also practiced art criticism in a creative way, and was an organiser of cultural activities – a sympathetic observer of many developments in modern art. The methodology of art history occupies a special place in his scholarzy accomplishments. In contrast to many researchers, who dealt with history and its methods as a humanistic discipline, Porebski developer his own methodology of art research, which he formed under the strong infl uence of methods borrowed from information theory, semiotics, anthropology and structural sociology. As the author of numerous methodological studies, later collected in a large volume entitled Art and Information, he tried to construct a systematic approach to art, beginning with a semiotic (iconic) understanding of the work, incorporated in the system of semiotic and social communication. One of Porebski’s main objectives was to discover a koncept of art as communication, which would allow for a comprehensive view of the story of art, with room for the particular role of moments of structural breakthrough (the crises – the transgressions), modelled on the basis of the achievements of structural anthropology and modern interpretations of myth and times of festivity, operating at different levels in societies characterised by different attitudes to painting, which can nonetheless be encompassed in repetitive patterns and formulas. In giving the work a three-layered structure, centred on the original idea of “morphisms”, Porebski tried to capture the changing functions of art within the framework of the variants of specifi c stylistic codes and communication systems. At the same time, as a methodologist, Porebski was well aware of the restrictions faced by information and semiotic theories when applied to artistic (more generally, visual) images, which build symbolic systems by expressing something and pointing at themselves. Porebski continued to develop his methodology of art research, on the one hand fascinated by the possibilities of adding the rigours of accuracy to it, as is the case with linguistic and semiotic studies, and on the other shaping his decisions under the strong spell of modernity, both on an ideological as well as artistic level.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 41-48
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obecność prac humanisty. O Mieczysławie Porębskim w 2013
    Mieczysław Porębski in 2013, or the presence of the humanists work
    Autorzy:
    Olszewska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/707075.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Porębski
    art history
    art theory
    art criticism
    20th century
    Polska
    historia sztuki
    teoria sztuki
    krytyka artystyczna
    XX wiek
    Polska
    Opis:
    Mieczysław Porebski is considered to be one of the greatest Polish humanists. The history of his undertakings makes us reflect on the permanence and appraisal of intellectual work in Central European culture in the second half of the twentieth century. That is why in this essay I pose questions regarding whether Porebski’s studies still have a presence in contemporary academic circles, the reception of his art criticism, and the lasting effects of his selected curatorial activities. Methods of dissemination and potential continuations of his key projects were taken as the starting point. Comparing the publishing history of Mieczysław Porebski’s major texts and their presence in contemporary reading lists indicates that art studies are not the only areas drawing on the author’s legacy. For his writings are used equally often by literary scholars and representatives of humanism, which are reintegrated under the banner of cultural studies. Comparing their publishing history (the order of editions, the re-editions, the print runs), with their contemporary functioning in academic circulation, shows that the lifespan of works published as books ranges from about 30 to 40 years from the date of the last edition. From more or less the 1990s, Porebski’s scattered texts in the fi eld of art criticism have mainly been referred to in the context of research on the cultural life of the period. Among the mentioned publications, the most important in terms of the author’s reception today seems to be his Iconosphere (Warsaw, 1972, Belgrade 1978; translated by Peter Vujicic, afterword by Rodoslav Doluc). It is a work in which Porebski, in response to the reflections of semiologists of the time, attempting to get to the basics of visual communication, analysed the latter through the category of space and described the differences between the structure of language and the structure of the world of images. Thanks to Porebski, the term “iconosphere” became widely accepted in contemporary Polish humanities. I believe that the author was one of the fi rst to use it in the fi eld of art history, as early as the mid-1960s (the term was probably coined by the philosopher/existentialist Jean Wahl). The publication of the work evidently gave the “iconosphere” durability, at least in the realms of Slavic linguistics. From these observations, we can also draw valuable conclusions as to the lifespan and importance of the museologist’s work in contemporary Polish culture. The effect of Mieczysław Porebski’s curatorial activities, related to the creation of permanent exhibitions of Polish art at the National Museum in Kraków, faded away only recently. In the mid-1970s, his version of the Gallery of Nineteenth-Century Painting and Sculpture in the Cloth Hall took shape. Porebski also realized the Gallery of Twentieth Century Polish Art in the early 1990s. In both exhibitions, he juxtaposed works according to problems, assuming that they are linked by the room space. He thus created sophisticated structures, confronted masters, and willingly referred to places – events from the history of artistic life, grouping works in accordance with major exhibitions. These exhibitions played an important role in their time in defi ning the canon of Polish art of the past two centuries. Their duration was essentially restricted by external factors: the need for restoring the museum interior and stricter standards of copyright law. In the years 2005-2010, both expositions were remodelled by introducing new narratives and, to a varying degree, redefi ning the vision of history earlier proposed by Porebski. On the other hand, a good example of the continuation of his exhibiting concepts was a reconstruction of his private studio, completed in 2011 in the Museum of Contemporary Art in Kraków, under the name Mieczysław Porebski’s Library. Its creation marks a new chapter in the dissemination of the scholar’s work.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 7-25
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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