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Tytuł:
Co to znaczy być artystą/artystką?
What Does It Mean to Be an Artist?
Autorzy:
Krajewski, Marek
Schmidt, Filip
Powiązania:
https://bibliotekanauki.pl/articles/1373186.pdf
Data publikacji:
2017-01-30
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
art
contemporary art
artist
art field
art collection
sztuka
sztuka współczesna
artysta
pole sztuki
odbiór sztuki
Opis:
Who is an artist? Questions over how to define this role divided the makers of the project The Invisible Visual: Visual Art in Poland—Its State, Role, and Significance. The authors’ sources of data were the results of a nationwide survey, a survey of graduates of the Polish Academy of Fine Arts in the years 1975–2011, and in-depth interviews with seventy individuals in the field of visual arts. The authors were able to establish, first, that persons working in the art field give different definitions from those beyond its bounds; second, that artists, decision-makers, curators, and critics try to defend the sense and autonomy of their activities against ways of thinking and acting that are typical of other areas of the social world (while they are themselves engaged in disputes over who has a right to call him- or herself an artist and what is and isn’t good art); and third, being an artist is marked by a difficult-to-cross boundary, as is shown by the common necessity of supplementing artistic work by other sources of income and the high risk of failure in an artistic career.
Źródło:
Kultura i Społeczeństwo; 2017, 61, 1; 71-99
2300-195X
Pojawia się w:
Kultura i Społeczeństwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Powiernicy, kolekcjonerzy, (re)konstruktorzy. Współcześni artyści wobec rzeczy znalezionych
Repositories, Collectors, Memory (Re)Constructors: Contemporary Artists and Found Objects
Autorzy:
Izdebska, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/1373194.pdf
Data publikacji:
2017-01-30
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
art
found object
memory
site-specific art
sztuka
rzecz znaleziona
pamięć
sztuka specific-art
Opis:
The term ‘found object’ refers to an existing object or artifact that contemporary artists use in undertaking memory-related themes in their art. Originally, such objects would not have fit in the category of art, although for their finders they might have had value (for instance, for aesthetic or nostalgic reasons, or due to the object’s originality). By means of the found object an artist comments on contemporary culture, constructing an artistic narration that concerns the past and reveals the memories or identities connected with places and people (for instance, site-specific art or community art). Through art collecting, the revelation or discovery of things from the past, artists become custodians of memory and engage in its reconstruction; this may involve either the ‘small’ personal memory or the collective memory, for instance, one based on the history of a location. In the artistic practices analyzed in the article, things also become a means to influence the course of our activities, by evoking memories and the emotions connected with them, awakening the senses and affecting the course of interhuman relations.
Źródło:
Kultura i Społeczeństwo; 2017, 61, 1; 157-174
2300-195X
Pojawia się w:
Kultura i Społeczeństwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Luigi Lanzi antykwariusz i historiograf
Luigi Lanzi - antiquarian and historiographer
Autorzy:
Michałowicz, Monika
Powiązania:
https://bibliotekanauki.pl/articles/707051.pdf
Data publikacji:
2012
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Lanzi
art history
art theory
historia sztuki
teoria sztuki
Opis:
This article is devoted to Luigi Lanzi (1732-1810), one of the key cultural figures of the late Italian Enlightenment, but rarely discussed in print. The author focuses on the most important aspects of his antiquarian and historiographic activities. Both Lanzi’s biography and his interests seem to portray him as a typical exponent of his time, but the results of his research and his perseverance in implementing it transform this typicality into uniqueness. This is especially true of his life’s work “Storia pittorica della Italia” (Bassano 1795-1796, 1809), one of the most important texts in the history of art historiography. This article invokes the concepts, personalities and texts which best define the mature aspects of Lanzi’s research. In his intellectual biography, the moments which shaped his attitude towards art are essential. On the one hand, he belonged to the Roman circle of scholars, on the other he became an antiquary at the Florentine court of Pietro Leopoldo, where he played an important role in creating a new concept for the Uffizi Gallery. Lanzi wrote “The History of Italian Painting” as art historian who wished to be objective. He tried to maintain his objectivity by using the style criterion which allows description of a work of art as it is, regardless of the biography of the artist. He thus proposed a history of painting understood as a history of changes in artistic language. In his view, the role of an art historian is to show without bias the whole picture, and provide the foundation upon which to build historical, and in the case of painting aesthetic, assessments.
Źródło:
Rocznik Historii Sztuki; 2012, 37; 115-126
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Art training and personality traits as predictors of aesthetic experience of different art styles among Polish students
Autorzy:
Pietras, Karolina
Czernecka, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/2129185.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
individual differences
expertise
aesthetic experience
art training
art styles
Opis:
Personality, demographics and art experience proved to play an important role in reactions to visual art. Nevertheless, research attempts that take into account all those factors when determining predictors of aesthetic responses to different artistic styles are quite rare. The study presented here investigates predictors of aesthetic experience across figurative, abstract and contemporary paintings in individuals with varying expertise. Students enrolled in Sport, Humanities and the Arts programmes (N = 181) declared their art exposure and filled out personality measures (Big Five, alexithymia, need for closure). Next participants evaluated three paintings using a tool constructed by the authors to track various dimensions of aesthetic reactions (i.e. negative/positive affective responses, self-references, explicit knowledge and perceived mastery of the artwork). Reactions to figurative painting depended mostly on formal knowledge about arts, not personality traits. Aesthetic perception of abstract art rely not only on art exposure, but also on some individual characteristics (openness to experience, tolerance of ambiguity and ability to identify one’s own emotions and track their source). Reception of contemporary art was predicted mostly by art exposure variables and in the case of negative emotionality by ability to identify one’s own emotions and track their source. Both formal art education and art experience were stronger predictors of aesthetic responses than personality traits, for all art styles and dimensions of aesthetic experience. Personality predictors were significant mostly for abstract art. Personal interest in the arts seems to be as good predictor of aesthetic reactions as formal expertise.
Źródło:
Polish Psychological Bulletin; 2018, 49, 4; 466-474
0079-2993
Pojawia się w:
Polish Psychological Bulletin
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Obelisk as Motif: An Element of European Sepulchral Art in the Funeral Monuments of Warsaw
Autorzy:
Tyszkiewicz, A.
Powiązania:
https://bibliotekanauki.pl/articles/702661.pdf
Data publikacji:
2005
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
OBELISK (POLAND)
SEPULCHRAL ART
Opis:
In modern times the obelisk has been used in the decoration of tombs since the early 16th century. The first example of its use can be found in the Roman church Santa Maria del Popolo, in the Chigi Chapel, designed by Raphael. Not much later, this motif spread to Poland, where the oldest sepulchral monuments of this kind appear in Cracow, Plock and Gdansk. Obelisks remain popular in this function until today, thanks to their symbolic meaning: they are associated with glory, constancy and immortality.
Źródło:
Meander; 2005, 60, 3; 356-376
0025-6285
Pojawia się w:
Meander
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Michał Walicki (1904–1966)
Autorzy:
Walczak, Marek
Powiązania:
https://bibliotekanauki.pl/articles/706979.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
WALICKI
Opis:
Michal Walicki (1904-1966) studied Art History at the University of Warsaw (1924-1929), where he received his doctorate. He worked in the Department of Polish Architecture at the Warsaw Technical University, at the Warsaw School of Fine Arts (later the Academy of Fine Arts), at the National Museum, and the Art History Institute of the Warsaw University. After the war he combined work at the Institute of History of Art at the Warsaw University and the State Institute of Art (later the Institute of Art of the Polish Academy of Sciences). Michal Walicki’s academic activities encompassed a surprisingly wide spectrum of subjects, though his particular field of interest was painting. He had a ‘positivist’ temperament, concerned with a painstaking search for new works of art and the collecting of material, and above all with cataloguing and sharing the collections. In texts written before the war he built a firm foundation for the study of panel painting in fifteenth-century Poland, although his narrow national perspective is now certainly difficult to accept. After his employment at the National Museum in Warsaw, he changed his profile of research, focusing on modern painting (particularly Dutch), but also on the best understood popularization and education through art. After the war, he initiated and coordinated the work on a series of syntheses, setting new standards of quality in Polish academic studies. He belonged to the narrow circle of great humanists who could write about art with passion, in a manner accessible and understandable to all. He developed his own, easily recognizable style, impressionistic in character, well-suited to aesthetic experiences.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 127-136
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tadeusz Mańkowski (1878-1956)
Autorzy:
Żygulski, Zdzisław
Powiązania:
https://bibliotekanauki.pl/articles/707022.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
MANKOWSKI
Opis:
This article introduces the work of the art historian Tadeusz Mańkowski (1878-1956). He trained as a lawyer and took up art history late, as a private scholar. In 1945 he was appointed Director of the State Art Collection at Wawel. Mańkowski was probably the first Polish researcher who established contacts with foreign orientalists studying the arts, especially in the U.S. and the UK, including magazines such as “Ars Islamica” and “Bulletin of Iranian Art and Archaeology”. In this field, his most important article was on Polish trade with Persia in the seventeenth century, in the monumental Survey of Persian Art (ed. A. Upton Pope). In his studies on the relationship between the former Poland and the broadly defined Orient, Mańkowski created an academic groundwork based on extensive archival query. He published a book on Sarmatian Genealogy, in which he uncovered, relying on archival sources, the origins and the development of this formation of Polish culture which was born in the sixteenth century and underwent many transformations up until the eighteenth century. This was an ideological study, setting in motion the on-going debate about Sarmatism which lasts until this day. The framework of Mańkowski’s achievements should be divided into three categories: the Leopolitano (he lived in Lviv until 1945) and Oriental art; the Cracoviana and the Waweliana (Royal Castle in Cracow - Wawel); the Varsaviana and the artistic and collector’s activity of the last Polish king, Stanislaus Augustus.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 39-46
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Julian Pagaczewski (1874–1940)
Autorzy:
Malkiewicz, Adam
Powiązania:
https://bibliotekanauki.pl/articles/707030.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
PAGACZEWSKI
Opis:
Julian Pagaczewski (1874-1940) was a pupil of Marian Sokolowski at the Jagiellonian University in Krakow; after graduating in History of Art in 1900, he worked at the National Museum from 1901-1911, and then took a post at the Jagiellonian University. He obtained his doctorate in 1908, his postdoctoral habilitation in 1909, became associate professor in 1917, and in 1921 – a full professor; his chair was liquidated in 1933. During the interwar period, he was the major figure in art history in Krakow. His research interests included Polish art of all periods (apart from contemporary), seen in the vast context of European art, particularly the handicrafts (goldsmithery, tapestry, embroidery) and sculpture. Following in his master’s footsteps, he adopted a philological and historical method of research, and soon enriched it with an in-depth comparative and stylistic analysis; he was strongly influenced by the Viennese scholars (Franz Wickhoff, Alois Riegl), and above all Heinrich Wölfflin. His studies show a great mastery of the methodology of research, and the later ones are exemplary of an art history focused on issues of style. He also had a reputation as an outstanding teacher and educator; despite his relatively short period of professorship, he helped form almost all the eminent art historians of the next generation, who, after World War II, determined the nature of the discipline in Krakow, largely continuing with his methodological approach and passing it on to the next generation of scholars.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 21-28
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mieczysław Gębarowicz (1893–1984)
Autorzy:
Żuchowski, Tadeusz J.
Powiązania:
https://bibliotekanauki.pl/articles/707043.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
GEBAROWICZ
Opis:
Mieczyslaw Gebarowicz (1893-1984) was a historian and art historian, associated all his academic life with Lviv. It was in that city that passed all the stages of his academic career during the interwar period, including the ordinary professorship at the University of Jan Kazimierz. During World War II, he was appointed Director of the National Ossoliński Institute. After the war, when Lviv was incorporated with Eastern Malopolska into the Ukrainian Soviet Republic, he remained in the city despite the loss of his academic degrees, resulting ultimately in his employment as an assistant librarian at the Museum of Industry. His research methods, formed under the influence of Boloz-Antoniewicz and Zakrzewski, were based on a thorough analysis of sources and meticulous examination of works of art. Gebarowicz thought it essential to favour source documents over formal analysis. During the interwar period, he focused on the study of medieval art, and wrote a synthesis of the art of this period, in which he outlined a vision of the development of European art independent from the dominant, at that time, French and German studies. In Gębarowicz’s opinion, the cultural border areas, the periphery, played an important role. He placed great emphasis on the artistic process, highly valuing the individuality of the artist and his social role. After the war, Gębarowicz, cut off from the Polish academic community, undertook research on the areas of the Eastern Malopolska (Little Poland), Podolia and Zaporozhye i.e. lands that were beginning to be called Ukraine. In the 1950s, he wrote two studies in Ukrainian, in which he presents the development of realism in art in so-called ‘Western Ukraine’ (Eastern Little Poland), and the history of sculpture in the Ukraine.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 57-68
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jan Białostocki (1921–1988)
Autorzy:
Ziemba, Antoni
Powiązania:
https://bibliotekanauki.pl/articles/707061.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
BIALOSTOCKI
Opis:
This article introduces Jan Białostocki (1921-1988), who is considered the most outstanding Polish art historian, and who belonged to the world’s elite humanist scholars of the twentieth century. Throughout his life, Bialostocki was associated with two institutions: the Institute of Art History at the Warsaw University and the National Museum in Warsaw. He lectured at numerous European and American universities. He was a member of several European Academies of Sciences, and Vice-President of the Comité International d'Histoire de l'Art, Conseil International de la Philosophie et des Sciences Humaines. He also received the Warburg-Preis award. Białostocki was the author of over 500 major scholarly publications, including such fundamental works as: Les Primitifs Flamands: Les Musées de Pologne (1966), Spätmittelalter und beginnende Neuzeit (Propylaen Kunstgeschichte VII, 1972), The Art of the Renaissance in Eastern Europe: Hungary, Bohemia, Poland (1976), and Il Quattrocento nell' Europa Settentrionale (1989). His main focus was on iconology, which he developed, often arguing with its founder, E. Panofsky. He proposed the modus theory in art history, which made an important impact on Western art literature, as well as the category of “framework theme” (Rahmenthema). Białostocki also put forward a comprehensive vision of the methods of art history comprising the study of a work of art as a physical object, of its genesis as well as the analysis of the reception. Very important to Białostocki’s interestswas the problem of the relationship between the center/periphery, metropolitanism/ provincialism – he fought with the stereotyped geohistory of European art caught in the paradigm of centralism, Eurocentrism, Italocentrism or Francocentrism.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 157-171
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zbigniew Hornung (1903–1981)
Autorzy:
Wrabec, Jan
Powiązania:
https://bibliotekanauki.pl/articles/707070.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
HORNUNG
Opis:
Zbigniew Hornung (1903-1981) belonged to the first generation of Polish art historians who specialized in the study of Baroque art. Although he had also engaged with the art of the Renaissance, and published several papers on the major works of art of this period in Poland, his main achievements concern Baroque sculpture, architecture and painting in the former Eastern Borderlands of Poland. Throughout his life, he invariably used the classical method of combining historical and archival research with that of a stylistic and comparative nature, and rescued from oblivion the sculptor Antoni Osiński, the painter Stanislaw Stroiński and the architect Jan de Witte, to whom he dedicated separate monographs. He also published a monograph on the sculptor Pinsel, but did not manage to access all the material on the subject. Together with T. Mańkowski, he should be merited with discovering a new phenomenon in art, on a European scale of importance, namely the Lviv’s Rococo sculpture. It should be noted that although banished from his hometown of Lviv after the war, Hornung spent the second half of his life in Wroclaw, where he re-organized Polish museology and art historical studies and remained faithful to borderland issues. In addition to monographic studies on artists and their works, he also undertook some attempts at syntheses of Renaissance sculpture and Baroque architecture in Poland. The most original and at the same time the most controversial was “The problem of Rococo in church architecture of the 18 c.”, published in 1972. He had the courage to formulate daring hypotheses which did not always find support, causing heated debates. Insensitive to new methods and changing research fashions, he was primarily interested in the form and not the subject of the work of art.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 114-125
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Marian Morelowski (1884–1963)
Autorzy:
Kozieł, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/707119.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
MORELOWSKI
Opis:
This article presents the life and work of Marian Morelowski (1884–1963), an outstanding Polish art historian. He was born at Wadowice (1884), studied French in Cracow, Vienna and Paris (1902–1907) and took his doctorate in 1912. Morelowski worked as an expert on the regaining of Polish cultural heritage from Russia and the Soviet Union (1915-1926) and as a curator in the Royal Castle in Cracow (1926–1929). In 1930 he moved to Vilnius and was awarded the post of Professor of Art History at the local university. After World War II had finished, he continued his academic career in Lublin (1945–1948) and Wroclaw (1948–1960), where he died in 1963. Morelowski’s main fields of research were the artistic relations between Poland and the Meuse region in the Middle Ages, the art of the Vilnius region and medieval and early modern art in Silesia. Morelowski treated his work as an undertaking dedicated to the service of Polish national culture. His research work strictly adhered to the nationalist ideology of the independent Polish state and was opposed to the views of German art historians.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 47-56
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zofia Ameisenowa (1897–1967)
Autorzy:
Olszewska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/707141.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
AMAISENOWA
Opis:
This article introduces the Polish art historian, Zofia Ameisenowa (1897-1967). Her excellent working methodology became the model study of illuminated manuscripts for many contemporary art historians. The priority of Ameisenowa’s research was to create a library understood not as a catalogue, not as an actual institution, but as an environment proper to the circulation of images and ideas. Her publications can be viewed as part of the method for realizing this global project. The mainstream work of the Polish scholar had a ‘positivist’ dimension, and her research system grew from traditional connoisseurship supported by the then most up-to-date knowledge in the field of book studies. Ameisenowa was inspired by scholars such as Giovanni Morelli and Richard Öffner, exponents of the first Vienna School of Art History, and Polish bibliologists like Kazimierz Piekarski and Aleksander Birkenmajer. The nature of Ameisenowa’s research suggests that she not so much practised the history of ideas, but the social history of art directed at the question of the function of the work of art and the historical usus of dissemination, copying, and image reconstruction in culture. Because of these interests, she had more in common with the matter-of-fact iconography practised by Emile Mâle than with the spectacular iconology of Erwin Panofsky, and any elements of iconological interpretation, if they occur, were for her an intellectual adventure, the prize for the free use of carefully extracted facts. It is worth noting that a separate area of interest for the scholar was Jewish art.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 91-102
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ksawery Piwocki (1901–1974)
Autorzy:
Kasperowicz, Ryszard
Powiązania:
https://bibliotekanauki.pl/articles/707150.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
PIWOCKI
Opis:
Ksawery Piwocki (1901-1974), whose scholarly activities occurred during a particularly difficult period in our history, 1935-1970, was one of the most interesting Polish art historians and organizers of academic life. In his work, he combined an interest in methodology (for instance, as an expert on the concepts of Alois Riegl, and on all the complexities of the nearly century-old dispute about its proper interpretation), with many years of research on non-professional artists, areas of artistic creativity which remained partly on the margins of traditional art history and partly in the ‘no man's land’ of such disciplines as art history, ethnography and cultural anthropology. Armed with a thorough knowledge of methodology, and starting from the fairly widespread belief in the 1920s and 1930s that the study of the art of the so-called ‘primitives’ would facilitate exploration of the principles of artistic development in general, uncovering the psychological and anthropological origins of creativity, Piwocki researched ‘primitive’ art, revealing a fascinating and often surprising relationship between the proposals of modern artists and the trends of the ‘primitives’. It should be emphasized that these studies, which began even before World War II, were completely devoid of any attempt to support them with the theories of race, which was not so obvious at the time. We must not forget that Ksawery Piwocki was also a well-known organizer of academic life. He was involved in the practice of conservation, becoming an eminent expert on the theory of conservation and restoration of works of art, and greatly contributing to the increase in awareness of these issues in Poland.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 103-112
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
Wyświetlanie 1-15 z 106

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