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Tytuł:
Kierunki badań nad historią sztuki
Autorzy:
Nowakowska, Wanda
Powiązania:
https://bibliotekanauki.pl/articles/688811.pdf
Data publikacji:
1988
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Źródło:
Acta Universitatis Lodziensis. Folia Historica; 1988, 31
0208-6050
2450-6990
Pojawia się w:
Acta Universitatis Lodziensis. Folia Historica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wkład historii sztuki do zagadnień konserwacji zabytków
Autorzy:
Świechowski, Zygmunt
Powiązania:
https://bibliotekanauki.pl/articles/537812.pdf
Data publikacji:
1953
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
historia sztuki
konserwacja zabytków
Franz Kugler
nowoczesna historia sztuki
gotyk angielski
teoria Gottfrieda Sempera
pieta z Jeżewa
źródła historyczne
ikonografia
rysunek inwentaryzacyjny
dokumentacja historyczna
Źródło:
Ochrona Zabytków; 1953, 4; 181-191
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
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:
Tadeusz Bonifacy Chrzanowski (1926-2006)
Autorzy:
Węcławowicz, T.
Powiązania:
https://bibliotekanauki.pl/articles/218042.pdf
Data publikacji:
2007
Wydawca:
Stowarzyszenie Konserwatorów Zabytków
Tematy:
Chrzanowski Tadeusz Bonifacy
historia sztuki
history of art
Opis:
Już wszystko zrobiłem, co miałem zrobić i więcej nie mam nic do powiedzenia - mawiał u schyłku swego życia.
It's all I've done what I had done and I have nothing more to say - he would say at the end of his life.
Źródło:
Wiadomości Konserwatorskie; 2007, 21; 103
0860-2395
2544-8870
Pojawia się w:
Wiadomości Konserwatorskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Polska i niemiecka historia sztuki w polemicznym dyskursie - sympozjum w Rogalinie w roku 1973.
Autorzy:
Labuda, Adam
Powiązania:
https://bibliotekanauki.pl/articles/909446.pdf
Data publikacji:
2018-05-22
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:
Polish and German Art History in a Polemic. The Rogalin Symposium of 1973 Summary The paper recapitulates a discussion over the book, Das Kunstwerk zwischen Wissenschaft und Weltanschauung, ed. Martin Warnke, Köln 1970, which was an aftermath of a pungent statement made by critical German art historians at the Congress of German Art Historians held in Köln in 1970. The main idea of the book was showing the “work of art as an object of ideological interests, a victim of ideological interventions” (Warnke) – in this case, those of a nationalist, Nazi, and fascist origin. A critical impulse triggered by the congress and the book was the main reason for organizing a symposium in Rogalin in 1973, during which art historians from Poznań delivered papers-comments on four articles included in the German publication. Taking into consideration the key message of the book, in the first place they focused on the methodological and theoretical assumptions adopted by German scholars. Stressing the discrepancy between the goals and assumptions of the German publication and its Polish reception, the author treats the papers delivered in Rogalin as evidence of a methodological shift in Polish art history of the early 1970s. His main observations are the following: the end of the dominant approach focusing on the artwork itself; a shift toward approaching it in terms of the communicative triad “sender-work-recipient”; acknowledging the inevitable involvement of the art historian (scholar-recipient) in that historically determined framework. It is notable that the Polish scholars virtually ignored the ideological and critical approach to the evolution of art history that was developed in the German book. Moreover, the paper presents the historical background of both the Köln conference and its proceedings as well as the specific determinants of art history in the communist Poland, particularly as regards its contacts with the two German states.
Źródło:
Artium Quaestiones; 2017, 28; 227-250
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wokół roku 1948: „rewolucja łagodna” i historia sztuki
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/909506.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
revolution
art after 1945
communism
autocracy
folklore
Opis:
Just like after World War I Italy experienced a transition from modernism to fascism, after World War II Poland experienced a passage from modernism to quasi-communism. The symbol of the first stage of the communist revolution in Poland right after the war, the so-called “gentle revolution,” was Pablo Picasso, whose work was popularized not so much because of its artistic value, but because of his membership in the communist party. The second, repressive stage of the continued came in 1949–1955, to return after the so-called thaw to Picasso and the exemplars of the École de Paris. However, the imagery of the revolution was associated only with the socialist realism connected to the USSR even though actually it was the adaptation of the École de Paris that best expressed the revolution’s victory. In the beginning, its moderate program, strongly emphasizing the national heritage as well as financial promises, made the cultural offer of the communist regime quite attractive not only for the left. Thus, the gentle revolution proved to be a Machiavellian move, disseminating power to centralize it later more effectively. On the other hand, the return to the Paris exemplars resulted in the aestheticization of radical and undemocratic changes. The received idea that the evil regime was visualized only by the ugly socialist realism is a disguise of the Polish dream of innocence and historical purity, while it was the war which gave way to the revolution, and right after the war artists not only played games with the regime, but gladly accepted social comfort guaranteed by authoritarianism. Neither artists, nor art historians started a discussion about the totalizing stain on modernity and the exclusion of the other. Even the folk art was instrumentalized by the state which manipulated folk artists to such an extent that they often lost their original skills. Horrified by the war atrocities and their consequences, art historians limited their activities to the most urgent local tasks, such as making inventories of artworks, reorganization of institutions, and reconstruction. Mass expropriation, a consequence of the revolution, was not perceived by museum personnel as a serious problem, since thanks to it museums acquired more and more exhibits, while architects and restorers could implement their boldest plans. The academic and social neutralization of expropriation favored the birth of a new human being, which was one of the goals of the revolution. Along the ethnic homogenization of society, focusing on Polish art meant getting used to monophony. No cultural opposition to the authoritarian ideas of modernity appeared – neither the École de Paris as a paradigm of the high art, nor the folklore manipulated by the state were able to come up with the ideas of the weak subject or counter-history. Despite the social revolution, the class distinction of ethnography and high art remained unchanged.
Źródło:
Artium Quaestiones; 2019, 30; 367-391
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Animus Belli 2017 : duch wojny. T. 2, Historia sztuki wojennej : zwierzęta na polu walki
Historia sztuki wojennej : zwierzęta na polu walki
Współwytwórcy:
Lasota, Jacek. Redakcja
Palczewska, Milena. Redakcja
Akademia Sztuki Wojennej. Instytucja sprawcza
Akademia Sztuki Wojennej. Wydawnictwo. Wydawca
Data publikacji:
2017
Wydawca:
Warszawa : Wydawnictwo Akademii Sztuki Wojennej
Tematy:
Sztuka wojenna
Wojna
Zwierzęta w wojsku
Materiały konferencyjne
Praca zbiorowa
Opis:
Materiały z I Ogólnopolskiej Konferencji Naukowej z cyklu "Animus Belli", 20 kwietnia 2017 r., Warszawa.
Bibliografia, netografia, wykaz aktów prawnych przy referatach.
Dostawca treści:
Bibliografia CBW
Książka
Tytuł:
KAZIMIERZ MALINOWSKI – MUZEOLOG
KAZIMIERZ MALINOWSKI – MUSEUM PROFESSIONAL
Autorzy:
Gerard, Radecki,
Powiązania:
https://bibliotekanauki.pl/articles/433659.pdf
Data publikacji:
2017
Wydawca:
Krajowy Ośrodek Badań i Dokumentacji Zabytków
Tematy:
Kazimierz Malinowski
muzeologia
historia sztuki
Muzeum Narodowe w Poznaniu
wystawy
Opis:
W roku 2017 przypadają 110. rocznica urodzin oraz 40. rocznica śmierci profesora Kazimierza Malinowskiego, z kolei w czerwcu 2016 r. minęło półwiecze od chwili ponownego objęcia przez niego stanowiska dyrektora Muzeum Narodowego w Poznaniu. Wszystkie te okoliczności domagają się przypomnienia wielce zasłużonej dla polskiego muzealnictwa, jak i poznańskiego Muzeum Narodowego postaci. Tytuł niniejszego tekstu stanowi parafrazę tytułu artykułu Kazimierza Malinowskiego Michał Walicki – muzeolog, zamieszczonego w czasopiśmie „Muzealnictwo”, a poświęconego postaci słynnego historyka sztuki i badacza plastyki gotyckiej w Polsce. Walicki mniej jest znany jako muzeolog, a jeszcze mniej jako mentor samego Malinowskiego, ale jeżeliby podjąć próbę określenia całego bogatego spektrum działalności tego ostatniego jednym tylko słowem, to właśnie nieco lekceważony dzisiaj termin „muzeolog” wydaje się być najbardziej pojemny i adekwatny. Pozwala bowiem przypomnieć postać K. Malinowskiego w kilku najważniejszych aspektach jego działalności, a mianowicie jako: 1/ muzeologa sensu stricto, teoretyka, ale i praktyka pracującego w muzeum i biorącego udział w najszerzej rozumianym życiu środowiska, 2/ propagatora społecznej roli muzeów jako instytucji otwartych na publiczność, 3/ wieloletniego dyrektora Muzeum Narodowego w Poznaniu, wizjonera i kuratora nowego programu merytorycznego instytucji. Malinowski należał do grona kilku najważniejszych postaci powojennego polskiego muzealnictwa, lecz jest dzisiaj prawie zupełnie zapomniany. Całkowita niemal nieobecność tego nazwiska w dzisiejszym życiu muzealnym determinuje także niezadawalający stan badań nad jego biografią zawodową, tymczasem działalność Malinowskiego, choćby tylko w dziedzinie muzealnictwa – bo drugim istotnym obszarem jego aktywności było konserwatorstwo – należy dopiero gruntownie przebadać. Wiele zatem sądów czy opinii zamieszczonych powyżej należy na obecnym etapie badań potraktować jako sugestie i hipotezy, które muszą jeszcze podlegać dalszej szczegółowej weryfikacji. Tym niemniej naszkicowane jedynie pobieżnie najważniejsze – jak się wydaje – tropy działalności poznańskiego muzeologa przedstawią jego postać jako propagatora społecznej roli muzeów – instytucji otwartych na publiczność, co z kolei ukaże aktualność postulatów Malinowskiego wobec dzisiejszego namysłu nad funkcjami muzeów.
Źródło:
Muzealnictwo; 2017, 58; 60-73
0464-1086
Pojawia się w:
Muzealnictwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Historia sztuki II Rzeczypospolitej – perspektywy badawcze
A history of the arts of the Second Polish Republic – research perspectives
Autorzy:
Szczerski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/2082168.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Opis:
The relatively recent increase in the interest in the arts and architecture of the Second Polish Republic (1918–1939) invites us to ask questions about its future perspectives. This includes the need to search for new methods to read historical sources and to appreciate the period as a pretext to rewrite the history of modern Polish art. Three research postulates are being proposed here. The first one refers to postcolonial studies and indicates that paradoxically postcolonial categories allow us to question the supposedly imitative nature of Polish modernisation. As a negative example, they let us see its unique and original character and demonstrate that comparisons with the accomplishments of ‘centres’ not always produce a valid academic result. The second postulate refers to the appreciation of a different research geography of the arts of the interwar period, both in terms of Poland and the international context. Research on provincial modernisation projects should be continued, by showing the scale of the program of reforms undertaken, but also by emphasizing the importance of the context of the Central and Eastern Europe, where many countries formed after the First World War, from Estonia to Yugoslavia, were in a similar situation to Poland. Points of reference should be sought in other peripheral locations where similar regional modernisation processes took place. Research should also be continued on the polycentric modernism, in which there is no single centre imitated by the provinces, but where various centres of modernity co-exist, implementing modernisation projects resulting from local conditions. The third of the research postulates stems from the significant expansion of source databases as well as the phenomena observed on the borderline of history of art, cultural studies, and anthropology, which are also becoming subjects of study within our discipline. The synthetic and syncretic approach to the past allows us to perceive the evidence of modernisation processes in the research areas previously unexploited by history of art, such as the activities of educational institutions, social organisations, cooperatives, but also public institutions such as political parties and associations. These examples can be multiplied, and paying attention to them serves to emphasize the universal impact of modernisation slogans and their acceptance by a wide spectrum of recipients. It is important to note that not only the avant-garde artists identified themselves with the project of changes, and one should not see in them the only promoters of change that opened Polish culture to the 20th century. Such a broad field of research shows the complementarity of the artistic phenomena on the scene of the Second Polish Republic and their parallel activities to implement the postulates of the ‘modernist reversal’ after 1918.
Źródło:
Rocznik Historii Sztuki; 2018, 43; 5-9
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
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:
Historia sztuki w dobie rewolucji informatycznej i globalizacji.
History of art in the age of information technology revolution and globalisation.
Autorzy:
Harasimowicz, Jan
Powiązania:
https://bibliotekanauki.pl/articles/560227.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
globalizacja
Opis:
The article is a slightly altered version of an inauguration lecture presented at the 4th Central European Forum of Doctoral Students of Art History ‘Art History in the Age of Globalisation’, which took place in Wrocław on 5-8 November 2008 thanks to the efforts of the Institute of Art History at the University of Wrocław and Doctoral Students Council of the University of Wrocław. The starting point was the fruit of the 32nd Congress of the Comité International d’Histoire de l’Art (CIHA) entitled ‘Crossing Cultures: Conflict, Migration and Convergence’, which was held on 13-18 January 2008 at the University of Melbourne. In the author’s opinion the congress was of an exceptional significance: firstly, it was carried on in Australia, on the continent latest included in ‘global’ cultural communication, secondly, for the first time the ‘global’ dimension of history of art was stressed so strongly. This discipline is practised nowadays all over the world, moreover it improves making use of modern methods of gathering knowledge and rendering it accessible. What it is all about is to break down ethnical, political or religious prejudices, still present here and there, with the aim of these new information tools to build up gradually the truly all-human, ‘global’ history of art.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2010, 1(15); 30-42
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przewodniki turystyczne w kontekście rozwoju wiedzy o sztuce na ziemiach polskich w XIX wieku
Autorzy:
Ziarkowski, Dominik
Powiązania:
https://bibliotekanauki.pl/articles/627302.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
przewodniki turystyczne
historia turystyki
historia sztuki
XIX w.
Opis:
Dawne przewodniki stanowią ważną kategorię źródeł historycznych, pozwalających zrekonstruować wiele aspektów z zakresu historii turystyki. Szczególny rozwój literatury przewodnikowej nastąpił w XIX w., kiedy wykształcił się nowoczesny typ przewodnika z opisami według tras zwiedzania i licznymi informacjami praktycznymi. Jednocześnie zawierał wiele wiadomości o zróżnicowanym charakterze, m.in. z zakresu geografii, etnologii, przyrodoznawstwa, a także opisy zabytków i dzieł sztuki. Znaczenie polskich przewodników dla pisarstwa o sztuce jest bardzo duże, lecz niedoceniane. Celem autora artykułu jest określenie roli, jaką te publikacje odegrały w sferze historiografii artystycznej, a także wskazanie związku pomiędzy przewodnikami a rozwojem badań naukowych nad sztuką. Tematyka ta stanowi bez wątpienia interesujący obszar interdyscyplinarnych powiązań pomiędzy historycznym rozwojem turystyki oraz nauki, w tym wypadku historii sztuki.
Źródło:
Turyzm; 2019, 29, 1; 91-104
0867-5856
2080-6922
Pojawia się w:
Turyzm
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Historia sztuki i medycyna
Art history and medicine
Autorzy:
Kędziora, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/1041322.pdf
Data publikacji:
2019-01-11
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
neuroesthetics
embodied simulation
mirror neurons
Zoe Leonard
Wilhelm Sasnal
art
medicine
art history
empathy
Opis:
The article Art history and medicine concerns selected aspects of the Medicine in art exhibition, taking place at the Museum of Contemporary Art in Kraków (MOCAK) between 22nd April and 22nd October 2016. The author discusses the issue of medicine with regard to its mechanisms that let us create and perceive art. This reflection includes a historical overview of the “medically-oriented” art research. Another significant aspect constitutes the attempt to explain by the tools associated with neuroaesthetics, why the viewers are likely to look at some drastic images created by artists with such willingness and involvement. The analysis refers to texts by D. Freedberg, V. Gallese, A. Damasio, P. Przybysz, and others. It also includes interpretations of the photohraph Seated anatomical model by Zoe Leonard, as well as the Medical Kit installation by Wilhelm Sasnal.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2018, 34; 341-356
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
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