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    Wyświetlanie 1-4 z 4
    Tytuł:
    Bartholomeus Strobel młodszy redivivus – między barokową reprezentacją a videoartem. Wystawa „Wrocławska Europa” w Muzeum Narodowym we Wrocławiu
    Bartholomeus Strobel and Lech Majewski exhibition in Wroclaw
    Autorzy:
    Grzybkowska, Teresa
    Powiązania:
    https://bibliotekanauki.pl/articles/2082200.pdf
    Data publikacji:
    2017
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Opis:
    In 2016 the city of Wroclaw became The European Capital of Culture. On this occasion, the National Museum organized three exhibitions. The magnificent and newly renovated Four Domes Pavilion designed by Hans Poelzig staged the show called Summer Rental. The Marx Collection in Wroclaw, featuring 50 artworks from the Hamburger Banhof Museum in Berlin. The Ethnographic Museum showed the multimedia exhibition Treasures of European Traditional Culture, featuring various phe- nomena of Intangible Cultural Heritage preserved through documents and protected oral tradition. This cultural programme influenced the reception of the third show in the National Museum, the first monographic exhibition of the Baroque Silesian painter Bartholomeus Strobel (1591–1647). Strobel was a Lutheran artist working for the Catholic Church and the Polish King Władysław IV. He received commissions from both Catholics in the Polish Commonwealth and Protestants in Gdansk, and was painting portraits of lay and church dignitaries as well as religious compositions. The Wroclaw exhibition successfully showcased the work of this talented portraitist and religious painter adept at Counter-Reformation subjects. The second protagonist of the exhibition was Bishop of Wroclaw, Polish Prince Karol Ferdynand Waza (1613–1655). For this reason, the exhibition included many outstanding gold Baroque church objects, on loan from the Treasury of the Cathedral of Wroclaw. Strobel’s largest and most impressive painting, the Feast of Herod with the Beheading of St John the Baptist (2.80 × 9.50 m), from the Prado Museum, Madrid, was probably commissioned by the Dean of the Wrocław Cathedral Chapter, Nikolaus von Troilo, since it features his coat of arms. The focal point in the painting is the severed head of St. John, also found on the coat of arms of Wroclaw and Silesia. The canvas was executed around 1640, in honour of the three fallen heroes of the fight for the political and religious freedom of Silesia: Jan Christian, Prince of Legnica-Brzesko, the poet Martin Opitz, and Nikolaus von Troilo. In the Feast of Herod, the artist contrasted hypocritical and vicious rulers, depicted as caricatures, with a few honourable individuals. The large canvas from the Prado did not travel to Wroclaw for conservation reasons. It was, however, replaced and interpreted by a large video art piece by Lech Majewski, the Polish master of the genre and world-renowned artist. Majewski made the famous film Mill and the Cross (interpreting Brueghel’s The Road to Golgotha from Vienna). In 2010 he also created the video art piece Supermar- ket Dante based on the Divine Comedy. Majewski is renowned for painting with the new electronic means in films and in video art. In the video art presented in the Wroclaw exhibition the first sequence shows Strobel’s painting from Madrid of richly dressed men celebrating at splendidly set tables. In the centre of the picture Herodias is holding St. John’s head and Herod looks at it in horror. The scene of the saint’s martyrdom is depicted on the margins of the picture; it occupies a narrow right strip of the composition. In the next video sequence the banqueting hall turns into a supermarket – the temple of modern consumerism. Tables are set up in front of checkouts for the supermarket customers. A black-clad praying figure appears thus disturbing the feast, and then is lifted out of the film’s frame. After a while Salome brings St. John’s bloody head on the tray and puts it on the table. Thanks to this travesty, Strobel’s painting which is a great allegory condemning unjust governments and the death and humiliation of the virtuous, is timeless in its content. It shows how relevant artists are as society’s conscience. The exhibition shown in Wroclaw was innovative in the context of the Polish museology, and testifies to great new exhibiting opportunities for the future dialogue between the past and the present.
    Źródło:
    Rocznik Historii Sztuki; 2017, 42; 231-242
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jacka Malczewskiego Finis Poloniae, Rewolucja 1905 roku czy Wyznanie miłosne?
    Jacek Malczewskis The 1905 Revolution, Finis Poloniae or a Declaration of Love?
    Autorzy:
    Grzybkowska, Teresa
    Powiązania:
    https://bibliotekanauki.pl/articles/1955857.pdf
    Data publikacji:
    1999
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    Paintings by Jacek Malczewski (1854-1929), the most outstanding Polish symbolist painter often fell victim to “pathology of myth”, as Joseph Campbell defined the use of the spiritual sphere, which is myth, for political aims. In “pathology of myth” understood in this way almost all the modern painting can be placed, with propaganda-political contents, being at courts' service, apotheosising kings and leaders. In the case of Malczewski's works this was especially easy, as the artist extremely seldom gave titles to his paintings himself. It was done for him by his friends-critics. For his part the artist in letters (1876) and in an interview (1914) asserted that he painted his own feelings and his own life, adding that nobody understood his pictures. The work that is the subject of the article (Fig. 1) is a good example here. The painting was entitled The 1905 Revolution (1925), or Finis Poloniae (1977), interpreting it in the patriotic spirit. It was supposed to present an allegory of losing all hopes for Poland to regain independence (Poland was then depraved of its own sovereign state). The two women, between whom the artist is standing, were supposed to symbolise the invader states, Austria and Prussia. A. Ławniczakowa already sceptically assessed (1990) this interpretation, seeing in the women libido figures – the seducing power of the senses, antagonistic to the artist's spiritual vocation. The suggestions to interpret the painting in a patriotic way were so strong that in my book published in 1996 I placed the picture in the chapter entitled “Homeland”. Now I have changed my opinion. Just at the time when the discussed picture was painted, Malczewski created a few of his best works. Their main protagonist was Maria Balowa – the artist's great love. The painting shows Malczewski standing against a vast landscape with the Muse and many-winged Pegasus between two women. In fact it is one woman – Maria Balowa, repeated twice. Snakes wreathe themselves around her naked breasts. These reptiles were the attribute of Asclepius – the patron of medical art, and they symbolised metamorphosis and healing. After all love not only changes a man, but also heals him. I consider this work by Malczewski to be The Apotheosis of the Artist and His Muse. Jacek Malczewski perfectly well knew art, especially Italian and Flemish of the 16th-18th centuries and he often drew inspiration from it. Here he used the composition formula known from paintings presenting apotheoses of rulers, in order to show affirmation of his personal love feelings. He used a similar composition in the portrait of his friend, Count Aleksander Wielopolski (Fig. 2) presented as Hercules at the cross-roads .
    Źródło:
    Roczniki Humanistyczne; 1999, 47, 4; 321-328
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    PROFESOR ZDZISŁAW ŻYGULSKI JUNIOR – WSPANIAŁY CZŁOWIEK, WIELKA OSOBOWOŚĆ, MUZEOLOG, BADACZ DAWNEJ BRONI, SZTUKI ORIENTALNEJ I MALARSTWA EUROPEJSKIEGO (1921–2015)
    PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)
    Autorzy:
    Teresa, Grzybkowska,
    Powiązania:
    https://bibliotekanauki.pl/articles/433427.pdf
    Data publikacji:
    2017
    Wydawca:
    Krajowy Ośrodek Badań i Dokumentacji Zabytków
    Tematy:
    Zdzisław Żygulski jun. (1921–2015)
    uczony
    bronioznawca
    muzeolog
    pedagog
    Zdzisław Żygulski Jr. (1921–2015)
    scholar
    expert on weapons
    museum professional
    educator
    Opis:
    Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.
    Profesor Zdzisław Żygulski jun. (1921–2015) należał do najwybitniejszych polskich historyków sztuki 2. poł. XX wieku. Historię sztuki pojmował jako szeroko pojętą naukę o człowieku i jego artystycznych dokonaniach. Jego nazwisko było rozpoznawalne w światowej nauce o dawnej broni oraz wśród badaczy malarstwa Rembrandta i Leonarda da Vinci. Zajmowała go muzeologia i sztuka orientalna. Napisał 35 książek, ok. 200 artykułów, liczne eseje o sztuce, pisał w prasie codziennej o swoich artystycznych podróżach po Europie, Japonii, Stanach Zjednoczonych. Publikacje ilustrował przeważnie własnymi zdjęciami, posiadał ogromny zbiór przeźroczy. Żygulski był autorem wielu wystaw w kraju i za granicą prezentujących polską sztukę, w której broń i elementy orientalne pełniły zawsze ważną rolę. Młodość spędził we Lwowie, do Krakowa został ekspatriowany wraz z żoną ceramiczką i malarką Ewą Voelpel w 1945 roku. Studiował anglistykę i historię sztuki na Uniwersytecie Jagiellońskim (UJ), był uczniem Adama Bochnaka i Wojsława Molè. Całe życie związany był z Muzeum XX Czartoryskich w Krakowie, w którym pracował od 1949 do 2010 r., większość czasu jako kustosz Zbrojowni. Badania naukowe Profesora dotyczyły tego muzeum, pisał o jego historii i zbiorach. Wraz z prof. Zbigniewem Bocheńskim założył Stowarzyszenie Miłośników Dawnej Broni i Barwy, którego był prezesem w latach 1972–1998. Stworzył naukową polską szkołę bronioznawstwa, wśród światowych badaczy i miłośników broni był postacią znaną i charyzmatyczną. Napisał podstawowe książki z tego zakresu: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu, Stara broń w polskich zbiorach, Polski mundur wojskowy (wspólnie z H. Wieleckim). Był znakomitym badaczem sztuki orientalnej, której poświecił kilka książek: Sztuka turecka, Sztuka perska, Sztuka mauretańska i jej echa w Polsce. Profesor Zdzisław Żygulski jun. był znakomitym, cieszącym się wielkim autorytetem pedagogiem, wykładał kostiumologię, historię sztuki i historię wnętrz w krakowskiej Akademii Sztuk Pięknych, kulturę śródziemnomorską na Mediteraneistyce i na Podyplomowym Studium Muzealniczym UJ – Jego zajęcia przyciągały tłumy słuchaczy. Na potrzeby studentów napisał książkę Muzea na świecie. Wstęp do muzealnictwa. Wykładał także na Międzynarodowym Uniwersytecie Sztuki we Florencji oraz na Uniwersytecie w Nowym Yorku. Profesor czynny był w wielu polskich organizacjach naukowych: PAU, PAN i SHS, w międzynarodowych stowarzyszeniach, m.in. ICOMAM i ICOM – wielokrotnie reprezentował polską historię sztuki na kongresach generalnych ICOM. Działał także w różnych radach muzealnych w całej Polsce.
    Źródło:
    Muzealnictwo; 2017, 58; 2-13
    0464-1086
    Pojawia się w:
    Muzealnictwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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