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    Wyświetlanie 1-4 z 4
    Tytuł:
    Doświadczenie sacrum i jego poetyckie formy w twórczości Bohuslava Reynka
    THE EXPERIENCE OF SANCTITY AND ITS POETIC FORMS IN THE WORKS OF BOHUSLAV REYNEK
    Autorzy:
    Gierowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/705086.pdf
    Data publikacji:
    2012
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    poetry
    graphic art
    Bohuslav Reynek
    Opis:
    The paper concerns the problem of sanctity in the poetry and graphic art of Bohuslav Reynek. The main aim of the author is to show how the sacred realm is present in the Reynek’s construction of literary motifs. In conclusion it is stated that most of them have auratic character (term of Walter Benjamin). Another problem described in the paper is the function of motifs of color and light in Reynek’s output which are in general a metaphor of sanctity. Thirdly, the author focuses on the euphonic aspect of Reynek’s poetry which is also strongly related to the aura of sanctity. Finally, the paper ends with a description of the antithetic and paradoxical character of Reynek’s poetic world.
    Źródło:
    Pamiętnik Słowiański; 2012, 62, 1-2; 77-100
    0078-866X
    Pojawia się w:
    Pamiętnik Słowiański
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Illustrating Polish Coins, Medals, and Seals in the Graphic Arts Techniques in the Second Half of the 19th Century. The Period of the Outstanding Numismatic Publications
    Autorzy:
    Podniesińska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2089988.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    illustrations of coins
    medals and seals
    numismatic iconography (in graphic art)
    graphic art XIX c.
    engravers and illustrators XIX c.
    graphic techniques
    Źródło:
    Wiadomości Numizmatyczne; 2020, 64; 157-186
    0043-5155
    Pojawia się w:
    Wiadomości Numizmatyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Poetic reception of the illustrations to the “Triumphs of Petrarch” (late 17th and 18th century)
    Poetycka recepcja rycin do „Tryumfów” Petrarki (druga połowa XVII i XVIII wiek)
    Autorzy:
    Grześkowiak, Radosław
    Powiązania:
    https://bibliotekanauki.pl/articles/2089370.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Poetry and graphic art
    Petrarch
    "The Triumphs"
    emblem epigrams
    Polish poetry of the 17th and 18th century
    Symeon of Polotsk (1629–1689)
    Wespazjan Kochowski (1633–1700)
    Franciszek Dionizy Kniaźnin (1750–1807)
    Franciszek Karpiński (1741–1825)
    Francesco Petrarca
    Symeon z Połocka
    Wespazjan Kochowski
    Franciszek Dionizy Kniaźnin
    Franciszek Karpiński
    Tryumfy
    wiersze na ryciny
    Opis:
    The Triumphs (Triumphi) by Petrarch is a series of six poems honouring the allegorical figures of Love, Chastity, Death, Fame, Time and Eternity, who vanquish each other in turn. The Italian poem sequence was virtually unknown in Poland (although a Polish translation of The Triumph of Love appeared c. 1630, only few readers would have read it as it was circulated exclusively in a small number of hand-made copies). The illustrations, however, caught the eye of the printers and became immediately popular. They depicted each of the victorious figures riding on triumphal chariot, followed by procession of captives. This article examines the Polish verses inspired by the illustrations rather than the text of the Trionfi i.e. written in the course of the late 17th and 18th century. The author of the most remarkable poetic response to the pictorial representations of Petrarch's Triumphs was Samuil Gavrilovich Piotrowski-Sitnianowicz (aka Symeon of Polotsk). As a student of the Academy of Wilno, he came across an emblem book with copperplate engravings of the Triumphs designed by Maarten van Heemskerck in 1565. His Polish verses (composed c. 1650–1653) follow loosely the Latin epigrams (subscriptiones) by Hadrianus Junius (Adriaen de Jonghe). Symeon of Polotsk was the first Polish-language author whose verses reflected in extenso the pictorial representation of the Triumphs (before him verses inspired by Petrarch's allegories had been written by Mikołaj Rej, Maciej Stryjkowski and Stanisław Witkowski). Wespazjan Kochowski's volume of miscellaneous pieces in verse published in 1674 includes an epigrammatic poem The Triumph of Love, inspired by Plate One of the Triumphs. However, Kochowski's description suggests that he must have seen an engraving showing Cupid's victims under his feet. That iconographic variant appears, among other, in the woodcuts of Bernard Salomon (1547) and the copperplates designed by one of van Heemskerck's pupils (mid-16th century) or Matthäus Greuter (1596). The following two poems were written about a century later. In 1779 Franciszek Dionizy Kniaźnin published in his second volume of Erotyki [Erotic poems] a song called The Triumph of Love. Its scenic arrangement, inspired by the illustrations of Petrarch's first Triumphus, is adapted to present twenty-one pairs of suitors. The description is stylized in conformity with the current Rococo manner and spiced up with touches of parody. A similar treatment of this subject can be found in some 17th-century paintings, for example in the Triumph of Love by Frans Francken the Younger, or an identically titled picture by the Italian Baroque artist Mattia Preti. The other poem, On the picture of the 'Triumph of Death', can be found in Franciszek Karpiński's Zabawki wierszem i przykłady obyczajne [Diversions in Verse and Moral Exemplars] published in 1780. It names eleven preeminent ancient conquerors and rulers, all cut down by Death personified by a scythe-wielding skeleton. Karpiński's description was no doubt inspired by a copperplate engraving produced by Silvestro Pomarede and designed about 1748–1750 by Gianantonio Buti after Bonifacio de' Pitati. In each of the two prints most of the figures on the ground round the chariot are identified by name. It may also be noted that Karpiński rounds of his poem with two stanzas evoking the last plate in the cycle, The Triumph of Eternity.
    Źródło:
    Ruch Literacki; 2019, 5; 493-510
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Twórczość Feliksa Stanisława Jasińskiego (1862–1901) i problemy graficznych odwzorowań dzieł sztuki
    The work of Feliks Stanisław Jasiński (1862–1901) and the question of graphic reproductions of works of art
    Autorzy:
    Ubysz-Piasecka, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2082093.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    19th Century Polish graphic arts
    reproductive prints
    reproductive graphics
    19th Century artistic culture
    19th century artistic taste
    Renaissance art
    art reproductions
    art history as a discipline
    Opis:
    The article discusses the complex issues related to 19th-century reproductive prints. Its starting point is the oeuvre of Feliks Stanisław Jasiński, a Polish engraver who was mainly active in France. He specialized in reproductive prints of works of art, and is a relatively well- -known and researched figure in the history of Polish graphic arts. Outlining the context for his activities also becomes a contribution to reflections on the place of reproductive prints in 19th century artistic culture, as well as an attempt to define a framework for considering this type of graphic production. In citing various examples of modern reproductive graphics, its diversity is proven. Theses on the primacy of the criterion of “fidelity” and technological determination in the history of reproduction are rejected. Instead, the complex links between this field and various aspects of artistic culture are pointed out. Particular emphasis is placed on the links between the functions, form and production methods of such prints. Chief consideration is given to the type of reproductive graphics made by using traditional metal techniques, which apart from their informative functions, also performed important artistic functions, as evidenced by the described phenomena occurring with- in this field in the second half of the 19th century, and the accompanying written tradition, formed since the 18th century.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 41-58
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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