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    Wyświetlanie 1-4 z 4
    Tytuł:
    Wilanowska perspektywa warszawskiej „Wystawy starożytności” w pałacu Potockich w lecie 1856 roku
    The Wilanów perspective on the Warsaw Exhibition of Antiquities held at the Count Potocki palace in the summer of 1856
    Autorzy:
    Paprocka-Gajek, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/1998210.pdf
    Data publikacji:
    2019
    Wydawca:
    Muzeum Pałacu Króla Jana III w Wilanowie
    Tematy:
    Potocki family
    Wilanów
    exhibition of antiquitie
    Opis:
    The Warsaw ”Exhibition of Antiquities belonged to a series of events that were a part of the panEuropean fashion for popularising the achievements of fine arts, scholarship and industry in the form of presentations or exhibitions open to the general public. The exhibition opened in June 1856 in the private palace of the Count and Countess August Potocki at Krakowskie Przedmieście 32 and continued for more than half a year. Beside the Potockis, its coorganisers were outstanding scholars and collectors, such as Paweł Bolesław Podczaszyński, Karol Bayer, Edward Rastawiecki, Henryk Stecki and Kazimierz Stronczyński. The aim of the exhibition was to gather and showcase objects linked directly with historical figures and events that reinforced the sense of national identity in the period when Poland was not an independent state; for this reason the event was disguised as one aimed to collect funds for charitable purposes. The Potockis lent 288 pieces from their own collections; 123 of them have survived to our times. The exhibition was accompanied by the publication of pioneering books, including a catalogue and an album which is today considered the first iconographic register of historical monuments in the Polish lands. This exhibition has provided the focus for a new permanent exhibition currently under preparation at the Wilanów Palace.
    Źródło:
    Studia Wilanowskie; 2019, XXVI; 179-244
    0137-7329
    2720-0116
    Pojawia się w:
    Studia Wilanowskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wilanowska kolekcja roślin egzotycznych w świetle inwentarzy z 1856 i 1857 roku
    Wilanów collection of exotic plants revisited – inventories of 1856 and 1857
    Autorzy:
    Kuśmierski, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/2057722.pdf
    Data publikacji:
    2021
    Wydawca:
    Muzeum Pałacu Króla Jana III w Wilanowie
    Tematy:
    Potocki family
    Aleksandra Potocka
    August Potocki
    Wilanów
    garden
    orangery
    plants
    Opis:
    The Potocki family contributed greatly to Wilanów gardens in two fundamental aspects: they developed the landscape arrangement of the palace and park, and they created alarge collection of glasshouse and orangery plants. Exotic plants were grown in the garden grounds in an orangery, a conservatory for fig trees, two hothouses, a glasshouse and two conservatories for pineapples. Until now, the species composition of the plant collection was known only from fragmentary information in the press covering garden exhibitions, in which Countess Aleksandra Potocka was actively involved. The missing information was found in two previously unknown inventories of 1856 and 1857 kept in the collection of the Central Archives of Historical Records in Warsaw (AGAD). They contain lists of glasshouse and orangery plants prepared by the inspectors of the Wilanów gardens. The aim of the present research was to identify the reasons and conditions for the preparation of these inventories, and to characterize the plant species mentioned therein. Manuscripts were rewritten and decoded, and then analysed for historical aspects and detailed botanical information. The precise historical context of both documents was established after the comparison of historical plant names with the modern nomenclature, and a total of 763 plant species and varieties were identified. Most of these plants are native to tropical and subtropical regions of North America, South America or Asia. The extraordinary diversity and richness of the Wilanów collection of exotic plants indicates that the owners of the estate at that time, Count August Potocki and his wife Aleksandra, had a huge interest in botany and provided versatile forms of patronage to gardens.
    Źródło:
    Studia Wilanowskie; 2021, XXVIII; 253-356
    0137-7329
    2720-0116
    Pojawia się w:
    Studia Wilanowskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Norwid i Potoccy z Wilanowa
    Norwid and the Potocki family from Wilanów
    Autorzy:
    Gadamska-Serafin, Renata
    Powiązania:
    https://bibliotekanauki.pl/articles/18029970.pdf
    Data publikacji:
    2022-09-13
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Norwid
    Wilanów
    Potoccy
    Stanisław Potocki
    Izabella z Mostowskich Potocka Starzyńska
    Cyprian Norwid
    Potocki family
    Izabella Potocka Starzyńska nee Mostowska
    Opis:
    Wilanów to miejsce na biograficznej i intelektualnej mapie norwidowskiej bardzo ważne nie tylko ze względu na kultywowaną w nim pamięć o wielkim „przodku” poety – Janie III Sobieskim. Norwid uczył się w warszawskiej „malarni” związanego z Wilanowem Aleksandra Kokulara, utrzymywał także bliskie kontakty z najbliższą rodziną właściciela dóbr wilanowskich – hrabiego Aleksandra Potockiego: jego drugą żoną hrabiną Izabellą z Mostowskich, primo voto Potocką, secondo voto Starzyńską, oraz z jej synem Stanisławem Potockim (wnukiem Stanisława Kostki Potockiego). Cieszył się nawet protekcją hrabiny Starzyńskiej, a z jej synem, kolekcjonerem, wielokrotnie spotykał się w Paryżu i prowadził z nim korespondencję poświęconą głównie kwestiom sztuki. Być może wizytowali też wspólnie paryski dom aukcyjny Hôtel Drouot.
    Wilanów is an important place on Norwid’s biographical and intellectual map, not only due to the cultivation of memory of his great “ancestor” John III Sobieski, but also because he learned to paint at the Warsaw studio of Aleksander Kokular, who was associated with Wilanów. Norwid maintained close contacts with the closest family of Wilanów’s owner, Count Aleksander Potocki: his second wife Countess Izabella nee Mostowska, primo voto Potocka, secondo voto Starzyńska, and her son Stanisław Potocki, grandson of Stanisław Kostka Potocki. Norwid even enjoyed the protection of Countess Starzyńska and would often meet in Paris with her son, an art collector, as well as exchange letters with him, mainly on the subject of art. Perhaps they visited together Hôtel Drouot, an art auction house in Paris.
    Źródło:
    Studia Norwidiana; 2022, 40; 191-203
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Madonna del Velo z przedstawieniem kardynała Paola Emilia Sfondratiego ze zbiorów wilanowskich w świetle ostatnich prac badawczych i konserwatorskich
    Madonna del Velo with the portrait of Cardinal Paolo Emilio Sfondrati, extant in the Wilanów collection, in the light of recent research and conservation works
    Autorzy:
    Gutowska-Dudek, Krystyna
    Modzelewska, Elżbieta
    Strombek, Joanna
    Kozakiewicz, Paweł
    Powiązania:
    https://bibliotekanauki.pl/articles/1968048.pdf
    Data publikacji:
    2019
    Wydawca:
    Muzeum Pałacu Króla Jana III w Wilanowie
    Tematy:
    Madonna del Velo
    painting
    Cardinal Paolo Emilio Sfondrati
    Wilanów
    Potocki family
    historical research
    conservation research
    technical research
    painting materials
    panel painting surface
    pigments
    binding agents
    painting technology
    identification of wood
    board construction
    poplar wood
    chestnut wood
    consolidation
    wax
    water damage
    unstable paint layer
    Opis:
    A valuable work associated with the output of Raphael is extant in the collection of the Museum of King Jan III's Palace at Wilanów. It constitutes a repetition of The Holy Family, a work by the Urbino master which used to be located in the church of Santa Maria del Popolo in Rome and which has been considered lost. The painting, also known as the Madonna del Velo, is now believed to be one and the same as The Holy Family or, as an alternative name, La Madone de Lorette, currently in Musée Condé in Chantilly. The history of Raphael's original is complex and often mysterious. Over a hundred of its copies and variants are known. Enchanted with the beauty of this work, Cardinal Paolo Emilio Sfondrati (1560-1618), a presbyter of the church of Santa Cecilia in Trastevere, purchased it in 1591 and allegedly commissioned two copies of it for his brothers. The author added the figure of an angel and a portrait of the cardinal to Raphael's original composition. The links known to have existed between Cardinal Sfondrati and the outstanding Baroque painter Guido Reni (1575-1642), as well as extant drawings and prints, have promoted the conjecture that he might be the author of this exceptional work. However, an exhaustive study of Guido Reni's output and a careful investigation of archive materials in Poland and in Italy are required to determine its authorship. The painting arrived in Wilanów around the middle of the 19th century, when the palace was owned by Count and Countess August Potocki. Four articles pertain to one of the most interesting, and most valuable, paintings in the Wilanów collection, the Madonna del Velo, discussing various issues linked with its history, its study and its conservation. The Wilanów version is particularly interesting because of its high artistic quality and the fact that it shares some stylistic features with works by Raphael considered to be its prototypes. The technological structure of the Wilanów painting and the materials used in its making were investigated in the course of a research project and with the involvement of many scholars representing various areas of expertise. Analyses were conducted which made it possible to describe the board used as the painting surface, the pigments and the binding agents of the painting's layers, which is of considerable importance in further research on the workshop that produced the work. An account of the recent conservation interventions involving this painting is appended to the material.
    Źródło:
    Studia Wilanowskie; 2019, XXVI; 119-152
    0137-7329
    2720-0116
    Pojawia się w:
    Studia Wilanowskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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