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Tytuł:
Facing the Work of Art. Memories of My Student Years
Autorzy:
Skubiszewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/909539.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
University of Poznań – art history
University of Poitiers – art history
methodology of art history
art history around 1950
Opis:
The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957-1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar.
Źródło:
Artium Quaestiones; 2019, 30; 7-20
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przed dziełem sztuki. Wspomnienia ze studiów
Autorzy:
Skubiszewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/909541.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
University of Poznań – art history
University of Poitiers – art history
methodology of art history
art history around 1950
Opis:
The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957–1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar. 
Źródło:
Artium Quaestiones; 2019, 30; 307-321
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Michał Walicki (1904–1966)
Autorzy:
Walczak, Marek
Powiązania:
https://bibliotekanauki.pl/articles/706979.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
WALICKI
Opis:
Michal Walicki (1904-1966) studied Art History at the University of Warsaw (1924-1929), where he received his doctorate. He worked in the Department of Polish Architecture at the Warsaw Technical University, at the Warsaw School of Fine Arts (later the Academy of Fine Arts), at the National Museum, and the Art History Institute of the Warsaw University. After the war he combined work at the Institute of History of Art at the Warsaw University and the State Institute of Art (later the Institute of Art of the Polish Academy of Sciences). Michal Walicki’s academic activities encompassed a surprisingly wide spectrum of subjects, though his particular field of interest was painting. He had a ‘positivist’ temperament, concerned with a painstaking search for new works of art and the collecting of material, and above all with cataloguing and sharing the collections. In texts written before the war he built a firm foundation for the study of panel painting in fifteenth-century Poland, although his narrow national perspective is now certainly difficult to accept. After his employment at the National Museum in Warsaw, he changed his profile of research, focusing on modern painting (particularly Dutch), but also on the best understood popularization and education through art. After the war, he initiated and coordinated the work on a series of syntheses, setting new standards of quality in Polish academic studies. He belonged to the narrow circle of great humanists who could write about art with passion, in a manner accessible and understandable to all. He developed his own, easily recognizable style, impressionistic in character, well-suited to aesthetic experiences.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 127-136
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tadeusz Mańkowski (1878-1956)
Autorzy:
Żygulski, Zdzisław
Powiązania:
https://bibliotekanauki.pl/articles/707022.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
MANKOWSKI
Opis:
This article introduces the work of the art historian Tadeusz Mańkowski (1878-1956). He trained as a lawyer and took up art history late, as a private scholar. In 1945 he was appointed Director of the State Art Collection at Wawel. Mańkowski was probably the first Polish researcher who established contacts with foreign orientalists studying the arts, especially in the U.S. and the UK, including magazines such as “Ars Islamica” and “Bulletin of Iranian Art and Archaeology”. In this field, his most important article was on Polish trade with Persia in the seventeenth century, in the monumental Survey of Persian Art (ed. A. Upton Pope). In his studies on the relationship between the former Poland and the broadly defined Orient, Mańkowski created an academic groundwork based on extensive archival query. He published a book on Sarmatian Genealogy, in which he uncovered, relying on archival sources, the origins and the development of this formation of Polish culture which was born in the sixteenth century and underwent many transformations up until the eighteenth century. This was an ideological study, setting in motion the on-going debate about Sarmatism which lasts until this day. The framework of Mańkowski’s achievements should be divided into three categories: the Leopolitano (he lived in Lviv until 1945) and Oriental art; the Cracoviana and the Waweliana (Royal Castle in Cracow - Wawel); the Varsaviana and the artistic and collector’s activity of the last Polish king, Stanislaus Augustus.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 39-46
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Julian Pagaczewski (1874–1940)
Autorzy:
Malkiewicz, Adam
Powiązania:
https://bibliotekanauki.pl/articles/707030.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
PAGACZEWSKI
Opis:
Julian Pagaczewski (1874-1940) was a pupil of Marian Sokolowski at the Jagiellonian University in Krakow; after graduating in History of Art in 1900, he worked at the National Museum from 1901-1911, and then took a post at the Jagiellonian University. He obtained his doctorate in 1908, his postdoctoral habilitation in 1909, became associate professor in 1917, and in 1921 – a full professor; his chair was liquidated in 1933. During the interwar period, he was the major figure in art history in Krakow. His research interests included Polish art of all periods (apart from contemporary), seen in the vast context of European art, particularly the handicrafts (goldsmithery, tapestry, embroidery) and sculpture. Following in his master’s footsteps, he adopted a philological and historical method of research, and soon enriched it with an in-depth comparative and stylistic analysis; he was strongly influenced by the Viennese scholars (Franz Wickhoff, Alois Riegl), and above all Heinrich Wölfflin. His studies show a great mastery of the methodology of research, and the later ones are exemplary of an art history focused on issues of style. He also had a reputation as an outstanding teacher and educator; despite his relatively short period of professorship, he helped form almost all the eminent art historians of the next generation, who, after World War II, determined the nature of the discipline in Krakow, largely continuing with his methodological approach and passing it on to the next generation of scholars.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 21-28
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mieczysław Gębarowicz (1893–1984)
Autorzy:
Żuchowski, Tadeusz J.
Powiązania:
https://bibliotekanauki.pl/articles/707043.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
GEBAROWICZ
Opis:
Mieczyslaw Gebarowicz (1893-1984) was a historian and art historian, associated all his academic life with Lviv. It was in that city that passed all the stages of his academic career during the interwar period, including the ordinary professorship at the University of Jan Kazimierz. During World War II, he was appointed Director of the National Ossoliński Institute. After the war, when Lviv was incorporated with Eastern Malopolska into the Ukrainian Soviet Republic, he remained in the city despite the loss of his academic degrees, resulting ultimately in his employment as an assistant librarian at the Museum of Industry. His research methods, formed under the influence of Boloz-Antoniewicz and Zakrzewski, were based on a thorough analysis of sources and meticulous examination of works of art. Gebarowicz thought it essential to favour source documents over formal analysis. During the interwar period, he focused on the study of medieval art, and wrote a synthesis of the art of this period, in which he outlined a vision of the development of European art independent from the dominant, at that time, French and German studies. In Gębarowicz’s opinion, the cultural border areas, the periphery, played an important role. He placed great emphasis on the artistic process, highly valuing the individuality of the artist and his social role. After the war, Gębarowicz, cut off from the Polish academic community, undertook research on the areas of the Eastern Malopolska (Little Poland), Podolia and Zaporozhye i.e. lands that were beginning to be called Ukraine. In the 1950s, he wrote two studies in Ukrainian, in which he presents the development of realism in art in so-called ‘Western Ukraine’ (Eastern Little Poland), and the history of sculpture in the Ukraine.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 57-68
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jan Białostocki (1921–1988)
Autorzy:
Ziemba, Antoni
Powiązania:
https://bibliotekanauki.pl/articles/707061.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
BIALOSTOCKI
Opis:
This article introduces Jan Białostocki (1921-1988), who is considered the most outstanding Polish art historian, and who belonged to the world’s elite humanist scholars of the twentieth century. Throughout his life, Bialostocki was associated with two institutions: the Institute of Art History at the Warsaw University and the National Museum in Warsaw. He lectured at numerous European and American universities. He was a member of several European Academies of Sciences, and Vice-President of the Comité International d'Histoire de l'Art, Conseil International de la Philosophie et des Sciences Humaines. He also received the Warburg-Preis award. Białostocki was the author of over 500 major scholarly publications, including such fundamental works as: Les Primitifs Flamands: Les Musées de Pologne (1966), Spätmittelalter und beginnende Neuzeit (Propylaen Kunstgeschichte VII, 1972), The Art of the Renaissance in Eastern Europe: Hungary, Bohemia, Poland (1976), and Il Quattrocento nell' Europa Settentrionale (1989). His main focus was on iconology, which he developed, often arguing with its founder, E. Panofsky. He proposed the modus theory in art history, which made an important impact on Western art literature, as well as the category of “framework theme” (Rahmenthema). Białostocki also put forward a comprehensive vision of the methods of art history comprising the study of a work of art as a physical object, of its genesis as well as the analysis of the reception. Very important to Białostocki’s interestswas the problem of the relationship between the center/periphery, metropolitanism/ provincialism – he fought with the stereotyped geohistory of European art caught in the paradigm of centralism, Eurocentrism, Italocentrism or Francocentrism.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 157-171
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zbigniew Hornung (1903–1981)
Autorzy:
Wrabec, Jan
Powiązania:
https://bibliotekanauki.pl/articles/707070.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
HORNUNG
Opis:
Zbigniew Hornung (1903-1981) belonged to the first generation of Polish art historians who specialized in the study of Baroque art. Although he had also engaged with the art of the Renaissance, and published several papers on the major works of art of this period in Poland, his main achievements concern Baroque sculpture, architecture and painting in the former Eastern Borderlands of Poland. Throughout his life, he invariably used the classical method of combining historical and archival research with that of a stylistic and comparative nature, and rescued from oblivion the sculptor Antoni Osiński, the painter Stanislaw Stroiński and the architect Jan de Witte, to whom he dedicated separate monographs. He also published a monograph on the sculptor Pinsel, but did not manage to access all the material on the subject. Together with T. Mańkowski, he should be merited with discovering a new phenomenon in art, on a European scale of importance, namely the Lviv’s Rococo sculpture. It should be noted that although banished from his hometown of Lviv after the war, Hornung spent the second half of his life in Wroclaw, where he re-organized Polish museology and art historical studies and remained faithful to borderland issues. In addition to monographic studies on artists and their works, he also undertook some attempts at syntheses of Renaissance sculpture and Baroque architecture in Poland. The most original and at the same time the most controversial was “The problem of Rococo in church architecture of the 18 c.”, published in 1972. He had the courage to formulate daring hypotheses which did not always find support, causing heated debates. Insensitive to new methods and changing research fashions, he was primarily interested in the form and not the subject of the work of art.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 114-125
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Marian Morelowski (1884–1963)
Autorzy:
Kozieł, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/707119.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
MORELOWSKI
Opis:
This article presents the life and work of Marian Morelowski (1884–1963), an outstanding Polish art historian. He was born at Wadowice (1884), studied French in Cracow, Vienna and Paris (1902–1907) and took his doctorate in 1912. Morelowski worked as an expert on the regaining of Polish cultural heritage from Russia and the Soviet Union (1915-1926) and as a curator in the Royal Castle in Cracow (1926–1929). In 1930 he moved to Vilnius and was awarded the post of Professor of Art History at the local university. After World War II had finished, he continued his academic career in Lublin (1945–1948) and Wroclaw (1948–1960), where he died in 1963. Morelowski’s main fields of research were the artistic relations between Poland and the Meuse region in the Middle Ages, the art of the Vilnius region and medieval and early modern art in Silesia. Morelowski treated his work as an undertaking dedicated to the service of Polish national culture. His research work strictly adhered to the nationalist ideology of the independent Polish state and was opposed to the views of German art historians.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 47-56
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zofia Ameisenowa (1897–1967)
Autorzy:
Olszewska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/707141.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
AMAISENOWA
Opis:
This article introduces the Polish art historian, Zofia Ameisenowa (1897-1967). Her excellent working methodology became the model study of illuminated manuscripts for many contemporary art historians. The priority of Ameisenowa’s research was to create a library understood not as a catalogue, not as an actual institution, but as an environment proper to the circulation of images and ideas. Her publications can be viewed as part of the method for realizing this global project. The mainstream work of the Polish scholar had a ‘positivist’ dimension, and her research system grew from traditional connoisseurship supported by the then most up-to-date knowledge in the field of book studies. Ameisenowa was inspired by scholars such as Giovanni Morelli and Richard Öffner, exponents of the first Vienna School of Art History, and Polish bibliologists like Kazimierz Piekarski and Aleksander Birkenmajer. The nature of Ameisenowa’s research suggests that she not so much practised the history of ideas, but the social history of art directed at the question of the function of the work of art and the historical usus of dissemination, copying, and image reconstruction in culture. Because of these interests, she had more in common with the matter-of-fact iconography practised by Emile Mâle than with the spectacular iconology of Erwin Panofsky, and any elements of iconological interpretation, if they occur, were for her an intellectual adventure, the prize for the free use of carefully extracted facts. It is worth noting that a separate area of interest for the scholar was Jewish art.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 91-102
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ksawery Piwocki (1901–1974)
Autorzy:
Kasperowicz, Ryszard
Powiązania:
https://bibliotekanauki.pl/articles/707150.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
PIWOCKI
Opis:
Ksawery Piwocki (1901-1974), whose scholarly activities occurred during a particularly difficult period in our history, 1935-1970, was one of the most interesting Polish art historians and organizers of academic life. In his work, he combined an interest in methodology (for instance, as an expert on the concepts of Alois Riegl, and on all the complexities of the nearly century-old dispute about its proper interpretation), with many years of research on non-professional artists, areas of artistic creativity which remained partly on the margins of traditional art history and partly in the ‘no man's land’ of such disciplines as art history, ethnography and cultural anthropology. Armed with a thorough knowledge of methodology, and starting from the fairly widespread belief in the 1920s and 1930s that the study of the art of the so-called ‘primitives’ would facilitate exploration of the principles of artistic development in general, uncovering the psychological and anthropological origins of creativity, Piwocki researched ‘primitive’ art, revealing a fascinating and often surprising relationship between the proposals of modern artists and the trends of the ‘primitives’. It should be emphasized that these studies, which began even before World War II, were completely devoid of any attempt to support them with the theories of race, which was not so obvious at the time. We must not forget that Ksawery Piwocki was also a well-known organizer of academic life. He was involved in the practice of conservation, becoming an eminent expert on the theory of conservation and restoration of works of art, and greatly contributing to the increase in awareness of these issues in Poland.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 103-112
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Grass is Greener: Władysław Hasior in an Ecocritical Perspective
Autorzy:
Kolenda, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/1788535.pdf
Data publikacji:
2021-05-27
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
ecocriticism
Hasior
horizontal art history
Polish neo-avant-garde
environmental art history
Opis:
The text offers an analysis of selected works by Władysław Hasior from an ecocritical perspective. The focus is placed on Hasior’s best-known work, The Organ, as well as on several parts of his Photo Notebook. The analysis seeks to demonstrate that an application of an ecocritical perspective to the reading of Hasior’s work may help fill in the blanks in the environmental history of art in Poland. Several recent publications and exhibitions that concern the relationship between art and nature focus on uncovering the “prehistory” of ecological art in Poland or the local tradition of Land Art. The text is meant as a preliminary study of possible research perspectives that the proposed reading may open up, as well as a consideration of whether ecocriticism could serve as an opportunity to bring the tenets of horizontal art history into the practice of rereading the work of Polish artists and their relationship with the landscape.
Źródło:
Ikonotheka; 2020, 30; 155-171
0860-5769
Pojawia się w:
Ikonotheka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Szczęsny Dettloff (1878–1961)
Autorzy:
Dębicki, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/706969.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLISH ART HISTORY
DETTLOFF
Opis:
Szczesny Dettloff (1878-1961) left impressive research achievements and had noteworthy didactic successes, which resulted from his special involvement in scholarly activity. He was a paragon of a morally and politically uncompromising academic teacher, whose life course was marked out by his Polish patriotism and Catholic clergymen ethics. Priest Dettloff’s resumé, as founder of the art history department and the first Poznan professor of art history, is replete with dramatic events, due to the fact that during World War II he was arrested by the Nazis; it was only the intercession of Karl Heinz Clasen, the German art historian, that saved his life. During the Stalinist period, Dettloff was removed from art history department at Poznan University, where he returned in 1956. During his studies in Vienna, Dettloff became acquainted with the methodology of the older Viennese school; Dettloff was a Ph.D. student of Max Dvořak, under whose supervision he defended his Ph.D. thesis entitled Der Entwurf von 1488 zum Sebaldusgrab in 1914. During the inter-war period, he preferred using the Alois Riegl method in his work, which was expressed by emphasis on the stylistic analysis of an examined work of art and the use of genetic and comparative methods. In most of his mature work, however, in which he attempted to interpret the core art of Veit Stoss, he made clear references to the methodology of Max Dvořak, perceiving art history as history of ideas (Kunstgeschichte als Geistesgeschichte).
Źródło:
Rocznik Historii Sztuki; 2011, 36; 29-37
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mieczysław Wallis (1895–1975)
Autorzy:
Pękala, Teresa
Powiązania:
https://bibliotekanauki.pl/articles/707008.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
WALLIS
Opis:
Mieczysław Wallis (1895-1975) authored 18 books, including 15 monographs in art history, the major ones being Autoportret (Self-Portrait, 1964), Poznna tworczosc wielkich artystów (The Late Works of Great Artists, 1975) and Secesja (Art Nouveau, 1967). Also worth noting is Sztuki i znaki. Pisma semiotyczne (Arts and Signs. Semiotic Writings, 1983). The main contribution of M. Wallis to art history lies in his modern metahistorical reflections, which are based on the firmly held beliefs about close relations between art history and other fields of art and aesthetics. His recommended method is moderate historiosophical relativism. Wallis recognizes within the process of reception the important role that scientific discourse and cultural paradigm play. In Secesja he used the iconological method, combining art with the philosophical and scientific thought of the Belle Epoque. In his analyses of medieval art he introduced the semiotic method, having successfully avoided the constraints characteristic of semiological studies. A philosophy of art history which assumes the variability of forms, of aesthetic sensibility and of knowledge does not necessarily lead to an extreme relativism, but accepts artistic pluralism; it allows us to retain the view on the continuity of art towards the avant-garde. Wallis interpreted its variable character by distinguishing between soft and sharp aesthetic values. Wallis laid the basis for an original, interdisciplinary approach to art. However, the distance that separated him from the aesthetics focused on the work of art itself, as well as from the social history and ideological criticism which were opposed to it, was the reason for his ideas to remain outside the mainstream of academic art history and aesthetics.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 69-79
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Juliusz Starzyński (1906 –1974)
Autorzy:
Sosnowska, Joanna M.
Powiązania:
https://bibliotekanauki.pl/articles/707098.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
STARZYNSKI
Opis:
Juliusz Starzynski (1906–1974) was an art historian as well as the director of three institutes of art; for almost forty years he held numerous academic and administrative positions and yet, today, he is almost unknown. He studied history of art at the University of Warsaw and simultaneously. After finishing his studies, he concentrated on his academic work, quickly advancing to higher levels. By the time war broke out, he had already been awarded a doctorate and was director of the Institute of Art Propaganda and curator at the National Museum in Warsaw, as well as lecturing in the Department of Architecture at the Polytechnic of Warsaw and at the National Institute of Theatrical Art. After the war started to work at the University of Warsaw and at the Ministry of Art and Culture. In 1949 he initiated the founding of the State Institute of Art, which was transformed in 1959 into the Institute of Art of the Polish Academy of Sciences. Starzyński was director from 1949-1960 and again from 1968-1974. During the Stalin years, he was a supporter of socrealism, but as soon as political pressure began to wane, he abandoned this perspective. Internationally, he was very active as a member and deputy chairperson of AICA. He organised exhibitions of Polish art abroad, among other places, at Art Biennale in Venice. After being dismissed from the position of director of the IS PAN as a result of political conflict with the management, he continued to work there, living in France on scholarships, giving lectures there about correspondance des arts during the Romantic Period, and publishing three books on the subject, two in Polish and one in French. From 1950-1970 he was the director of the Institute of the Art History at the University of Warsaw, where he regularly lectured.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 136-157
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Stanisław Jan Gąsiorowski (1897–1962)
Autorzy:
Ostrowski, Janusz A.
Powiązania:
https://bibliotekanauki.pl/articles/707136.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
GASIOROWSKI
Opis:
Stanisław Jan Gasiorowski (1897-1962) studied classical archaeology and art history at the Jagiellonian University during the years 1915 -1920, under direction of Piotr Bienkowski and Julian Pagaczewski. During a one-year stay in Vienna, he attended lectures given by Joseph Strzygowski, Max Dvorak and Julius Schlosser. In 1922, he started his professional career as an assistant in the Chair of Classical Archaeology at the Jagiellonian University. In 1930 he was named professor extraordinarius and in 1937 ordinarius. He remained in this position until 1953. In November of 1939, along with other professors of the Jagiellonian University, he was arrested by the Nazis, and imprisoned in the Sachsenhausen concentration camp. In 1942 the Prince Czartoryski family entrusted him with the position of director of the Czartoryski Museum. In 1951 Gasiorowski was dismissed, under the pretext that he was in the service of “aristocratic and bourgeois enemies of the Polish people”. Shortly thereafter the authorities also forced his removal from the University (1953). Deprived of the opportunity to give lectures and be in contact with students, he shifted his work to the Institute of Material Culture of the Polish Academy of Science, and remained there until his death. His research interests followed three general themes. The first of these was ancient art in the strict sense. He was the author of Poland’s first summary of the history of ancient art. The second area involved the theoretical foundations for the study of the material culture of Mediterranean countries. Finally, the third area was the publication of ancient and modern artworks from Polish collections as well as their history, and information on early Polish travelers to the Mediterranean countries
Źródło:
Rocznik Historii Sztuki; 2011, 36; 81-90
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
L’Imagination au pouvoir: historia sztuki w czasach kryzysu lat 60./70
Autorzy:
Turowski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/909504.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
art history in Poznań
art history
theory and methodology
avant-garde
1968
contestation
Opis:
The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studiedin terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.
Źródło:
Artium Quaestiones; 2019, 30; 399-413
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
L’Imagination au pouvoir: Art History in the Times of Crisis, 1960s – 1970s
Autorzy:
Turowski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/909518.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
art history in Poznań
art history
theory and methodology
avant-garde
1968
contestation
Opis:
The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studied in terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.
Źródło:
Artium Quaestiones; 2019, 30; 243-256
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jan Bołoz Antoniewicz (1858–1922)
Autorzy:
Bryl, Mariusz
Powiązania:
https://bibliotekanauki.pl/articles/707027.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
POLAND
ART HISTORY
BOŁOZ ANTONIEWICZ
Opis:
This article aims at portraying the figure of Jan Boloz Antoniewicz (1858–1922), Professor of Art History at the University of Lviv, and one of the founding fathers of Polish art history. The paper focuses on two periods of his life: Boloz’s ‘birth’ as an art historian and the ‘decline’ of his career. Regarding the former, a historical and artistic ‘first text’ by Boloz was subjected to analysis (The medieval sources for the sculptures found on the ivory casket in the treasury of the Cathedral on Wawel Hill, 1885). Regarding the second period, his ‘final text’ (Opatowski Lament and its creator, 1922). In the text, emphasis is placed on characterizing Boloz’s attitude which resulted from his general outlook on life, and belongs to the realm of psychology of academic scholarship, rather than methodology of research. Boloz as a scholar–creator was fully formed, and it is from this that other separate scholarly personalities were born, sometimes in keeping with his research interests and his intuitive approach to art, with direct experience of the work of art at its core, and sometimes quite the opposite – relating to other areas and research approaches. Nevertheless, Boloz’s ‘methodology’ can be contained within well–known categories: form–genesis–source–influence–development–originality–genius–masterpiece. It fits well within its time, when the old tradition of great scholars who were culturally and historically oriented was being dismantled in favour of the new trend, fitting for researchers of his generation, which aimed at developing one’s own paradigm of an increasingly autonomous discipline, emancipated from history, philology and aesthetics.
Źródło:
Rocznik Historii Sztuki; 2011, 36; 7-20
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Looking at Gandhāra
Autorzy:
ABHIJEET, Kumar
Powiązania:
https://bibliotekanauki.pl/articles/517667.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
Tematy:
Art History
Gandhāra
Silk Route
Opis:
Gandhāran artifacts serve as memory of the two millennium past aesthetics, art, culture and norms of the people of Gandhāra. The modern scholarship was started with the archaeological excavations, it’s interest in the western world with its link up, peculiar with classical forms. The intellectual society’s urge to learn from Buddhist visuals and collectionism had grown to its peak from last two centuries. The Kushan empire was into contact with the Mediterranean Rome, Egypt & Iran, one of the world’s best cultural centers of the era that burgeoned the local centers of Art and it was obvious that assimilations of forms of making artifacts were based on the demand of the patron. By these exchanges, Gandhāran Art also influenced Roman Art with introduction of Jewelry and Flower garlands etc. as it was going both ways; with exporting goods to the western society. Buddhism was also going westward, the prime time was second century CE when it saw its finest flowering and prominence on the gateway of the Silk Road. The quest for divinity through seeing art was the one way to attract lay people and theirs donation could accelerate the monastic activities from writing religious codes (Sutta in Pali, Sutra in Sanskrit) to making new Viharas (monasteries) and Chaityas (temples) .
Źródło:
Historia i Świat; 2015, 4; 439-447
2299-2464
Pojawia się w:
Historia i Świat
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Art history and its dialogue with the wider public: promotion and raising the awareness of cultural heritage
Autorzy:
Dolšina, Marjana
Powiązania:
https://bibliotekanauki.pl/articles/628825.pdf
Data publikacji:
2013
Wydawca:
Fundacja Pro Scientia Publica
Tematy:
art history, art heritage, public use, dialogue, audience
Opis:
The paper is based on the results of the project All This Painting hasn’t Gone to Waste, 2011, which deals with early 16th century sacral wall paintings in southern Slovenia. It tries to resolve out some dilemmas in communication with the wider public and presents main objectives in regard to awareness-rising and promotion of art heritage, for example encouragement of insti-tutions and individual experts for more intensive study and/or conservation-restoration work.
Źródło:
Journal of Education Culture and Society; 2013, 4, 1; 221-227
2081-1640
Pojawia się w:
Journal of Education Culture and Society
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Displaced Objects and Meanings. A Few Remarks on the Fang Mask, Masawa Canoes and Kachina Dolls
Autorzy:
Kisielewski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/1985614.pdf
Data publikacji:
2018-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
cultural anthropology
art history
anthropology of art
Opis:
Each of the artefacts mentioned in the title is an exemplification of products of the anthropological “Other”. Each of them comes from a distinct geographical region and represents an entirely different culture. However, all of them have been connected together in the Western culture realia as a result of a particular type of displacements. The first displacement involved their physical migration – first to European museums of natural history and ethnological museums. The next one resulted in their emergence on the market of exotic “oddities” whereas yet another displacement located them within the conceptual framework delimited by the artistic discourse. This last displacement shows that it is very difficult to understand or “translate” one culture into another because the conceptual framework of the “translator” is always determined by their own culture.
Źródło:
Kultura i Edukacja; 2018, 2(120); 97-112
1230-266X
Pojawia się w:
Kultura i Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Truth of a Painting, Truth of Matter: Robert Rauschenberg, Henryk Streng, and the History of Art
Autorzy:
Słodkowski, Piotr
Bednarek, Stefan
Rabiej, Stanisław
Powiązania:
https://bibliotekanauki.pl/chapters/1030909.pdf
Data publikacji:
2020-04-10
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
art history
modernism
intertextualism
new materialism
Holocaust
Opis:
Starting from the issue of truth in painting, the text presents a methodological discussion on inter-image relations. The starting point for this thinking is a radical juxtaposition of two artistic practices: Rauschenberg’s erasures on a drawing by de Kooning and Henryk Streng scratching out the signature on his own paintings. Both these interferences facilitate an analysis of the transition from approaching images intertextually to a research viewpoint that – quite the opposite – enhances the material aspect of visual representations.
Źródło:
Truth and Falsehood in Science and the Arts; 252-258
9788323542209
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
MMedieval Representation of the Legend of Saint Ladislaus in Comitatus Gömör
Autorzy:
Szakalos, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/449865.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Saint Ladislaus
frescoes
art history
wall paintings
Opis:
The aim of the article is to carry out detailed analysis of the frescoes of Saint Ladislaus legend in comitatus Gomor. Basing on new research as well as on the examination of the two recent discoveries the Authoress casts new light on the issue of mural painting’s dating and on the circumstances connected with theirs creation. The article starts with an introduction on pictorial representation and written sources of the legend of Saint Ladislaus. The main part of the text contains survey on the frescoes from Rimabanya, Rakos, Kovi, Szilice.
Źródło:
Saeculum Christianum. Pismo Historyczne; 2018, 25; 113-123
1232-1575
Pojawia się w:
Saeculum Christianum. Pismo Historyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Film fabularny jako narzędzie kuratora i badacza sztuki
Feature Film as a Curator's and Art Historian's Tool
Autorzy:
Ronduda, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/909563.pdf
Data publikacji:
2020-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
cinema
art history
feature film
institutional critique
Opis:
In the essay, the author, Łukasz Ronduda, relates his own work as an artist, a film director, an art historian and curator, discussed in the light of the cinematic turn and the formation of common ground between cinema and contemporary art in both artistic and institutional sense. Ronduda looks closely at his two full-length feature films: Performer (2015) and Serce miłości (Heart of Love) (2017) and highlights their wider context. The first frame of reference spans from experimental films to contemporary full-length productions dedicated to wide audience. The second reference is his own work involving academic research, curating, writing a novel and the creation of a found footage film. In this self-presentation, Ronduda discloses his different attempts to find the right medium to speak about and analyze contemporary art. The full-length film turned out to be particularly effective medium in its ability to express the truth by means of fiction, placing him between creation and institutional structure. Film as a medium of interpreting art  seems to productively question fixed boundaries between research, criticism and art.
Źródło:
Artium Quaestiones; 2020, 31; 209-236
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-25 z 203

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