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Wyszukujesz frazę "17th-century paintings" wg kryterium: Temat


Wyświetlanie 1-3 z 3
Tytuł:
Apteka jako alegoryczny obraz świata. XVII-wieczne malowidła z klasztoru pijarów w Rzeszowie
Pharmacy as an Allegorical Picture of the World. 17th-Century Paintings of the Piarist Monastery in Rzeszow
Autorzy:
Jagla, Jowita
Powiązania:
https://bibliotekanauki.pl/articles/512478.pdf
Data publikacji:
2013
Wydawca:
Wydawnictwo Diecezjalne Adalbertinum
Tematy:
pharmacy
allegorical picture
17th-century paintings
Piarist monastery
Rzeszow
Opis:
The article is focused on 17. century ceiling paintings in the Piarist monastery pharmacy in Rzeszow. In that time the city itself and its surroundings had a pretty coherent and rich pharmaceutical tradition. From 16. century there was observable a rapid origin of pharmacies in Przemysl, Jaroslaw, Lancut, Biecz, Krosno, Przeworsk, Sanok and Rzeszow. Unfortunately, the first partition of Poland was followed by the collapse of pharmacies and the closedown of a large part of them. The next wave of the decline of pharmacies came by the end of 18. century together with the cancel of the Jesuits and other religious orders which used to lead pharmacies. At the same time very the supply of pharmaceutical personnel from the Jagiellonian University in Krakow started to decrease. The Piarist monastery pharmacy became a historical monument of Rzeszow and its fine art. What undoubtedly creates the beauty and magical mood of the pharmacy are exceptional paintings which cover the barrel-vault and its surroundings in the main hall. They were discovered when the monas-tery buildings was transformed for the museum in 1958-1962. The performer of that thematically rich polychrome created in 1688-1697 is a painter of the great talent, Wojciech Ziemecki (Limecki), who took the religious name of Luke. His Rzeszow paintings have already been analyzed and described by J. Swieboda, L. Czyz, D. Drag, T. Drupka and I. Ziewiec. However, the authoress claims that the quantity of themes and the specificity of approaches make that they need some fresh perspective which was not gained by former interpretations.
Źródło:
Studia Ełckie; 2013, 15, 2; 235-256
1896-6896
2353-1274
Pojawia się w:
Studia Ełckie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Двосторонні взаємини України і Польщі у світлі повернення та збереження культурних цінностей
Bilateral Cooperation Between Ukraine and Poland in the Sphere of the Return and Preservation of Cultural Values
Autorzy:
Tatijiwśka, Inesa
Powiązania:
https://bibliotekanauki.pl/articles/1807314.pdf
Data publikacji:
2016-02-02
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Ukraine
Polska
cultural values
17th century
battle paintings of Martino Altamonte
Opis:
The article is devoted to the issue of bilateral relations between Ukraine and Poland today in the sphere of the return and preservation of cultural values. Special attention is paid to questions of protecting existing art objects whose destiny is sponsored by both the Polish, and Ukrainian sides. In particular, the battle paintings of Martino Altamonte which have a direct bearing on the heritage of the royal residence of Yan Sobesky ІІІ.
Źródło:
Studia Ucrainica Varsoviensia; 2016, 4; 447-461
2299-7237
Pojawia się w:
Studia Ucrainica Varsoviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Metalowe aplikacje w formie szat z przedstawieniami fundatorów
Metal appliqué in the form of vestments with representations of founders
Autorzy:
Wojtacha, Przemysław
Powiązania:
https://bibliotekanauki.pl/articles/1887850.pdf
Data publikacji:
2013
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
polski barok
sztuka baroku XVII i XVIII w.
rzemiosło artystyczne
złotnictwo
aplikacje na obrazy
metalowe aplikacje
Polish Baroque
Baroque art of the 17th and 18th century
decorative arts
goldsmithery
apliqué in paintings
metal apliqué
Opis:
The article depicts a votive character of a appliqué in the form of vestments, deriving them from the XVth century popular votive badges, which- according to the founders- were to be tokens of gratitude for the miracles and graces, as well as help to gain intercession expected by the founders. The author describes four forms of increasing of the appliqué in paintings. There are also four preserved metal appliqué with fundato representation shown here. They are presented chronologically starting from the appliqué from the painting of Mother of God from the monastery attached to the church of St. John in Cracow from 1683 (ilustr. 1-5), on the appliqué from the painting of Mary of God with an Infant from the church of St. Peter and Paul in Stare Miasto from 1773 (ilustr. 6, 7), the appliqué from the painting of Rosary Mother of God from the church of St. John the Baptist in Parczew from 1744 (ilustr. 8-10), and finishing with the appliqué from the painting of Mother of God with an Infant from church in the village of Ulan from 1758 (ilustr. 11-13). The way of placing the founders in the lower part of the vestment was to provide them with protection ensured by the robe of Mary of God – a popular and widely used motif in the art of Polish Baroque.
Źródło:
Roczniki Humanistyczne; 2013, 61, 4; 291-312
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
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