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Wyszukujesz frazę "Huml, Irena" wg kryterium: Wszystkie pola

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    Tytuł:
    Zerwana genealogia feministycznej historii sztuki. Galeria Zarządu Dzielnicowego Ligi Kobiet (1967–1980) i działalność Ireny Huml na rzecz artystek w PRL
    The Broken Genealogy of Feminist Art History. The Gallery at the District Board of the Women’s League (1967–1980) and Irena Huml’s Activity in Favour of Women Artists in the People’s Republic of Poland
    Autorzy:
    Szczupacka, Wiktoria
    Powiązania:
    https://bibliotekanauki.pl/articles/30139589.pdf
    Data publikacji:
    2024
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    galeria Zarządu Dzielnicowego Ligi Kobiet
    Irena Huml
    emancypacja kobiet w PRL
    Liga Kobiet
    feministyczna historia sztuki w Polsce
    feministyczna genealogia
    gallery at the District Board of the Women’s League
    emancipation of women in the People’s Republic of Poland
    Women’s League
    feminist art history in Poland
    feminist genealogy
    Opis:
    Artykuł stanowi pierwszą prezentację galerii Zarządu Dzielnicowego Ligi Kobiet (1967–1980) oraz prokobiecej działalności jej merytorycznej opiekunki – Ireny Huml. Rozważania zostały osadzone w refleksji nad genealogią feministycznej historii sztuki w Polsce, w szczególności zaś analiz dotyczących sztuki okresu PRL, powstałych po transformacji ustrojowej, w których nierzadko pomijano albo deprecjonowano państwowe inicjatywy na rzecz kobiet, a jeśli je dostrzegano, to oceniano jako fasadowe lub pozorne. Wynikało to nie tyle z przeprowadzonych badań, ile z totalitarnego paradygmatu dominującego wówczas w polskiej humanistyce. Podążając za nowymi ustaleniami na płaszczyźnie historii (Małgorzata Fidelis, Natalia Jarska) i socjologii (Magdalena Grabowska), które dotyczyły sytuacji kobiet w PRL oraz rozumienia ich emancypacyjnej aktywności, autorka postuluje wnikliwe przyjrzenie się relacjom sztuki i historii sztuki z państwową organizacją na rzecz kobiet – Ligą Kobiet.
    The article constitutes the first presentation of the gallery at the District Board of the Women’s League (1967–1980) and the pro-women activity of its program director, Irena Huml. The discussion is set in the context of reflection on the genealogy of feminist art history in Poland, in particular the analyses of art in the People’s Republic of Poland following the political transformation, in which state initiatives on behalf of women were often overlooked or devalued, and if they were noticed, they were assessed as superficial or illusory. This was due not so much to the research carried out, but to the totalitarian paradigm dominating the Polish humanities at the time. Following new findings in the areas of history (Małgorzata Fidelis, Natalia Jarska) and sociology (Magdalena Grabowska) pertaining to the situation of women in the People’s Republic of Poland and the understanding of their pro-emancipation activity, the author postulates an in-depth look at the relationship of art and art history with the state organisation for women, the Women’s League.
    Źródło:
    Biuletyn Historii Sztuki; 2024, 86, 1; 153-174
    0006-3967
    2719-4612
    Pojawia się w:
    Biuletyn Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Warszawskie szkolnictwo artystyczne dla kobiet na przełomie XIX i XX wieku
    Artistic Schools for Women in Warsaw at the Turn of the 19th Century
    Autorzy:
    Huml, Irena
    Powiązania:
    https://bibliotekanauki.pl/articles/1955819.pdf
    Data publikacji:
    1999
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    At the end of the 19th century Warsaw was the centre of economic, cultural and political life in the Polish Kingdom. About 1900 it had a population of nearly 700 thousand. Among its inhabitants women constituted a majority (according to the sources from 1888 on 1000 men there were 1112 women). Hence the problem of educating women acquired a great significance, the more so because they could not attend secondary and high state schools and their aspirations as well as the need to be employed in various jobs grew ever bigger. Among them a special place was taken by artistic jobs connected with practising both the so-called “pure art” and the ever more popular “applied” art. After the January Uprising in 1863 there was only one state artistic school in Warsaw – the Drawing Class. In the years 1872-1896 its headmaster was Wojciech Gerson. The school also did not accept women. This situation stimulated development of private education. Various artists taught their students in their own studios. Also Gerson was one of them; apart from men he had many women-students. With time, more and more regular private schools were established, also by women who had been educated at schools of this type in Vienna or Paris. Moreover, courses were organised at museums and other institutions. Well-known Warsaw painters, sculptors and architects usually gave lectures at them, often according to academic syllabuses. The courses comprised freehand drawing of plasters and models and other subjects as the basic ones, depending on the profile and standard of the school. Some of them put a greater stress to oil-painting or water-colours, others to ornamental or architectonic drawing, and lastly many of them prepared their students to professional painting on porcelain, glass, cloths (so-called Gobelin ones), on ivory, to embellishing leather, wood and other materials with the help of various techniques. One well-known result of the programme of this type of education is a report of the special courses at the Industry and Craft Museum presented in detail in one of Bolesław Prus's Weekly Chronicles. According to the report the students, among others, designed patterns for wall paper, clothes and decorative materials, some retouched photographs, others painted pottery, embellished letter paper, leather and paper haberdashery, designed wicker goods including furniture. These are probably only some of the specialities acquired by students of the numerous schools and courses preparing to jobs defined as artistic ones. The students were then employed in many workshops and factories that produced this type of goods at different scales. Many students practised only or also portrait or landscape painting or flower compositions, took up artistic engraving or chamber sculpture. Their works were shown in many prestigious exhibitions and in the Warsaw Annual Salons. The Warsaw artistic schools rendered a great service to a couple of generations of Polish women, which was also profitable for the whole sphere of culture.
    Źródło:
    Roczniki Humanistyczne; 1999, 47, 4; 297-312
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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