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Wyświetlanie 1-15 z 29
Tytuł:
„Rosyjski niedźwiedź” w historii łotewskiej karykatury
Autorzy:
Gailīte, Gundega
Powiązania:
https://bibliotekanauki.pl/articles/604876.pdf
Data publikacji:
2012
Wydawca:
Polskie Towarzystwo Rusycystyczne
Opis:
Gundega Gailīte Латвийская  академия  художеств, Riga, Latvia PRZ.RUS@op.pl   „ROSYJSKI NIEDŹWIEDŹ” W HISTORII KARYKATURY ŁOTEWSKIEJ Streszczenie Artykuł poświęcony jest analizie obrazu „rosyjskiego niedźwiedzia” w karykaturze łotewskiej - jego historii, znaczeniu i funkcji.Obraz ten jest jednym z czynników określających relacje łotewsko-rosyjskie i największe znaczenie posiada tu grafika satyryczna. Symbol niedźwiedzia wykorzystywany był przez łotewskich karykaturzystów jako znak Rosji i tego co rosyjskie, ale też w celu kształtowania pozytywnej tożsamości zbiorowej i mobilizacji Łotyszów. We współczesnym społeczeństwie łotewskim obraz niedźwiedzia miał wpływ nie tylko na retorykę związaną z polityką zagraniczną, ale także na relacje międzyetniczne - wykorzystują go zarówno Łotysze, jak i Rosjanie. RUSSIAN BEAR IN THE HISTORY OF LATVIAN CARICATURE Summary The article is devoted to the image of the “Russian bear” in Latvian caricatures. The author analyses its history, meanings, types, and functions. The image serves as a factor of Latvian-Russian relations. The image is exploited in caricature for marking Russian and Russianness; for maintaining and supporting Latvians’ positive collective identity; for mobilization of Latvians.  In the contemporary Latvian society the image of “Russian bear” influences not only rhetoric on foreign policy but also interethnic relations; it is actively exploited by both Latvian and Russian ethnic communities. 
Źródło:
Przegląd Rusycystyczny; 2012, 1/2
0137-298X
Pojawia się w:
Przegląd Rusycystyczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Awizo i apel.
Powiązania:
Spadochron (Londyn) 1991, nr 2 (115), s. 9
Data publikacji:
1991
Tematy:
Sosabowski, Stanisław (1892-1967) ikonografia
Lorys, Jan J.
Związek Polskich Spadochroniarzy (Londyn, Wielka Brytania). Zarząd Główny ZPS
Karykatury
Sztuka tematyka Polska 20 w.
Humor rysunkowy
Opis:
Apel ZG ZPS i J. Lorysa -- prośba o udostępnianie materiałów do przygotowywanego "Albumu karykatur gen. S. Sosabowskiego".
Dostawca treści:
Bibliografia CBW
Artykuł
Tytuł:
Cenzura polityczna wobec karykatury. Doświadczenia francuskie II połowy XVIII i pierwszej połowy XIX wieku. Przyczynek do walki o wolność słowa
Autorzy:
Sobczak, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/915728.pdf
Data publikacji:
2018-10-04
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:
Caricature is one of the forms of artistic expression and it has a similar role to satire. Consequently, some people consider caricature to be one of the forms of satire. Caricature has its origins in ancient times. The history of caricature is illustrated by political changes that civilization experienced. The administrative authorities attempted to fight caricature in numerous countries and France was one of them. This process is a part of the history of censorship that began in Roman times. Afterwards, it developed further during the Christian period of the Middle Ages until the 19th century. Unfortunately, this procedure is present in certain areas even today. The most interesting solutions were the ones adoptedin France. Moreover, it is worth noting that the phenomenon of institutionalization of censorship was not the only characteristic element in France. There were also censorship bodies present in the country despite the formal constitutional declarations of freedom of speech.
Źródło:
Czasopismo Prawno-Historyczne; 2017, 69, 2; 271-293
0070-2471
Pojawia się w:
Czasopismo Prawno-Historyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Drugi Korpus okiem karykaturzysty
Autorzy:
Polak, Katarzyna.
Kuczyński, Mieczysław.
Powiązania:
Mówią Wieki 2004, nr 5, s. 48-52
Data publikacji:
2004
Tematy:
Polskie Siły Zbrojne na Zachodzie Drugi (II) Korpus Polski PSZ 1943-1945 r. ikonografia
Karykatury wojsko Polska
Humor rysunkowy polski wojsko
Malarstwo batalistyczne polskie 20 w.
Literatura wojenna polska konkursy 20 w.
Opis:
W tekście rysunki z książki Mieczysława Kuczyńskiego "Dzieje 2-go Korpusu... inaczej".
Fot.
Dostawca treści:
Bibliografia CBW
Artykuł
Tytuł:
Famous cartoon characters in Polish satirical magazines of the interwar period (1918–1939): A statistical analysis
Autorzy:
Bergmann, Olaf
Powiązania:
https://bibliotekanauki.pl/articles/421758.pdf
Data publikacji:
2016
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Polish press in the 20th century (the interwar period)
satire and humour magazines
cartoon characters
people depicted in cartoons
statistical studies
karykatura
czasopisma
satyryczne
bohaterowie karykatury spersonifikowanej
Druga Rzeczypospolita
statystyka
prasoznawstwo
Opis:
This article looks at the popularity of famous cartoon characters in Polish satirical magazines of the interwar period from the point of view of statistics. The source material consists of twenty annual volumes of seven very different periodicals dedicated to satire and humour. They are Szczutka (A Fillip), Muchy (Flies), Cyrulik Warszawski (The Warsaw Barber), Wróble na dachu (Sparrows on the Roof), Szpilki (Pins), Pręgierz Poznański (The Poznań Pillory) and Pokrzywy (Nettles). The analysis, ie. a statistical count, has produced a ranking list of famous personalities most popular with the cartoonists.
Źródło:
Rocznik Historii Prasy Polskiej; 2016, 19, 2
1509-1074
Pojawia się w:
Rocznik Historii Prasy Polskiej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Karykatury Cypriana Norwida
Cyprian Norwid’s Caricatures
Autorzy:
Syzdół, Justyna
Powiązania:
https://bibliotekanauki.pl/articles/2117154.pdf
Data publikacji:
1992
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
Cyprian Norwid the master artist still is not known well enough, although his artistic output, of uneven value, includes some remarkable pieces. Among them are his caricatures. Norwid practised caricature throughout his life. Already in his school years he demonstrated an ability to execute humorous miniature portraits of his friends and other people he knew. Only very few of those early caricatures remain. We have a much larger collection of Norwid's caricatures from the late 1840s. He made them during his studies and journeys in Europe, putting them next to his other sketches and notes in the special personal albums he kept or leaving them in the then fashionable albums and sketchbooks belonging to the owners of the salons he frequented. Those early works, like the few we know of the 1850s, were mostly incidental and were chiefly portrait caricatures. The speed and facility with which he executed such drawings were the reason that Norwid did not take that part of his work very seriously. It was only starting from the late 1860s, perhaps as a result of the growth of the genre in Poland (contacts with J. Kossak and W. Gerson), that Norwid turned towards caricature fully purposely, making it a major part of his work as a graphic artist for many years to come. The collection of the caricature compositions of the last several years of Norwid's life gives us the best idea of the artist's potential and achievement as regards that form of expression. The fairly wide thematic range of the collection is best described as social and moral. The caricature usually has as its target the local émigré milieu or situations and phenomena typical of the Polish landed gentry. Among Norwid's most interesting pieces are the caricatures from the cycle of several drawing he presented, after the year 1873, to Mr and Mrs Józef Wagner or to their son-in-law Mieczysław Geniusz. They include “political” caricatures (“A Meeting of Emigrés”, “A Dispute”, “An Altercation”) very aptly capturing Polish émigré types and the disputes in the émigré circles in Paris at the time, caricatures that depict social and family life (“The Proposal”, “A Quarrel”, “A Family Incident”), and works whose dominant hero is the figure of the portly Polish nobleman, the prototype of which can be found in Norwid's “Traveller's Diary” of 1867. Among other caricatures of the 1870s there are a few striking satirical drawings on the subject of the condition of art and the position of the artist in the days of the growth of capitalism (“The Modern Polemic”, “The 19th Century Muse”, “A Concert”, “Art and the Burgher”, “The Pygmalion of the 19th Century”). The fine arts are dealt with in a set of three caricatures of 1877 which could be called “The Polish Nobleman as a Patron”. Together with the earlier drawings depicting the events described in the “Traveller's Diary”, these three form a cycle that presents the Polish gentry's attitude towards literature, music, painting, sculpture and architecture. Norwid does not treat his nobleman-landowner type with much kindness. He models his hero's physiognomy on the old-Polish nobleman figure, but does not idealize his character as many caricaturists active in Poland were doing; indeed, he speaks up sharply and decisively against the nobility's mentality and mores. Norwid often supplemented his caricatures with a commentary. His best piece of this kind, where caricature drawings are in perfect harmony with the sombre tone and ironic seriousness of the verbal account, is the humorous sketch of 1877 “Klara Nagnioszowska Commits Suicide”. The collection of Norwid's last caricatures is also an excellent showpiece for his stylistic achievement as a draughtsman. Their perfect expression is attained through the combination of a firmly drawn line with obvious creative freedom; the result is an impression of directness and sincerity. The supple and intricate but smoothly curving line and the expressiveness and simplicity of approach justify a comparison of the style and form of some of Norwid's works to certain sketches by Daumier, the greatest master of the genre. The originality and thoroughly individual imagery of Norwid's caricatures places him among Poland's most outstanding caricaturists.
Źródło:
Studia Norwidiana; 1992, 9-10; 65-93
0860-0562
Pojawia się w:
Studia Norwidiana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kogóż tam nie było? Karykatury Kazimierza Sichulskiego z restauracji Stanisława Karpowicza w Zakopanem
Who wasn’t there? Caricatures by Kazimierz Sichulski in Stanisław Karpowicz’s restaurant in Zakopane
Autorzy:
Kozakowska-Zaucha, Urszula
Powiązania:
https://bibliotekanauki.pl/articles/2082153.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Opis:
The special atmosphere of Zakopane was created by successive generations of notable visitors. Each generation became the heir of the previous one, building on its history and tradition. In 1914, the terrors of war arrived in Zakopane with refugees from Krakow and other partitioned parts of Poland, while the statesman Józef Piłsudski, who lived there sporadically between 1901 and 1914, left town. People descended under the Tatra Mountains as if to a “free town of Zakopane”. At that time, the Pronaszko brothers Andrzej and Zbigniew arrived, as well as the artists Leon Chwistek and Leopold Gottlieb, whereas Tymon Niesiołowski, Władysław Skoczylas and Jan Rembow- ski already lived there. Only Stanisław Ignacy Witkiewicz was absent, wandering through Russia. Also authors such as Stefan Żeromski, Andrzej Strug, Kazimierz Przerwa-Tetmajer and Jan Kasprowicz found their own pied-à-terre under the Tatra Mountains. Moreover, Zako- pane became a convenient place for politicians, initially the National Democratic Party, and later socialists, when they came to the fore. The meeting point in Zakopane was the famous restaurant Na Przełęczy (On the Pass), owned by the kind-hearted Leopolitan, Stanisław Karpowicz, nicknamed Karp (‘the carp’). Karpowicz arrived in Zakopane in 1902 from Lvov, and three year later took over Franciszek Muchowicz’s boarding-house and restaurant located at 40, Krupówki Street. The painter Kazimierz Sichulski, who also fled Lvov because of the war, was a regular guest at Karpowicz’s establishment. Although impoverished, he lived in the so-called ‘Tower’ on the premises. At that time, Ludwik Solski suggested to Karpowicz and Sichulski a new joint venture – making caricatures of Zakopane’s regular visitors. The prelude to the impressive gallery of cartoons by Kazimierz Sichulski was the portrait of the writer Kornel Makuszyński, dated 1909. The signature ‘Sich/09: KAWAL ORD. POLONIA / ASTORIA / RESTAURATA’, suggests that the portrait was executed in Lvov, in the famous restaurant of the Hotel Astoria. The remaining caricatures – in total 49 (not counting the portrait of Makuszynski) appeared in the restaurant On the Pass over a period of three years (1914–1917), creating an orderly and densely hung portrait gallery of various characters, all linked by Zakopane and history. After caricatures of writers – poets, novelists and art critics, and then actors, musicians, artists and architects – the caricatures of Galician politicians and legionaries became increasingly numerous.
Źródło:
Rocznik Historii Sztuki; 2018, 43; 123-141
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 29

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