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Wyświetlanie 1-2 z 2
Tytuł:
Wykorzystanie publikacji francuskich przy realizacji nagrobków na cmentarzach Warszawy w latach 1840-1860. Wzornik Josepha Marty’ego
The use of French templates during the execution of tombstones for the cemeteries of Warsaw from 1840 to 1860. Joseph Marty template
Autorzy:
Wiraszka, Marta
Powiązania:
https://bibliotekanauki.pl/articles/449915.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Powązki Cemetery in Warsaw
Evangelical Cemeteries in Warsaw
tombstone
Louis Marie Normand
Ferdinand Quaglia and Joseph Marty templates
Opis:
The article in question is a continuity of the subject brought up in the magazine ”Ar-tifex Novus” published in October 2017. Its first part referred to the tombstones created on the ground of works printed in Paris in 1832 on the pages of two illustrated magazines whose authors were Ferdinando Quaglia and Louis-Marie Normand respectively. The other part was dedicated to the pattern book by Joseph Mart and the objects performed on its ground. Collected pieces of information enable us to conclude that between 1840 and 1860 on the premises of the necropoleis of Warsaw a minimum of 20 tombstones, with the forms fol-lowing those published in the above mentioned magazines, were raised. The vast majority of preserved examples, as many as 14, can be found on the premises of the Powązki Cemetery, another three were discovered at the Evangelical Augsburg Cemetery and two at the Evan-gelical Reformed Cemetery. Moreover, it has been stated that such tombstones happen to be funded on the premises of necropolies located outside the boundaries of the capital e.g. in Lublin, Pułtusk, Radom etc. Even though none of the tombstones was signed, it can be con-cluded the center of production and distribution was Warsaw and the stonework manufactures in operation in the city. Among others, attention was drawn to two manufactures: the one of Jan Ścisłowski (1805-1847) located at 6 Powązkowska Street, inherited and led by his two sons-in-law: Antoni Messing (1821-1867) and Jan Bernard Sikorski (1832-1906), and the other belonging to the Mantzl family, Jan Józef senior – the father (1806-1875) and Józef Jan junior, – the son (1834-1906), the manufacture previously located at 19 Chłodna Street. The tombstones funded and co-funded by relatives and friends were copings to graves of the wealthy, high officials, militaries, real estate and factory owners, entrepreneurs, mer-chants as well as craftsmen. The offer of the stonework manufactures in Warsaw reflected the taste of the elite, in the vast majority of Catholics of aristocratic descendance willing to show pro-French likeness and respect to the culture in question, having it as more sophisticated than the one dating back to the monarchy of Louis the XIV, and in particular, forming bonds with the empire of Napoleon Bonaparte the I.
Źródło:
Saeculum Christianum. Pismo Historyczne; 2018, 25; 284-311
1232-1575
Pojawia się w:
Saeculum Christianum. Pismo Historyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pomniki smoleńskie w Warszawie – lokalizacje, dzieła, kontrowersje
Smoleńsk monuments in Warsaw – locations, works, controversies
Autorzy:
Halina, Taborska
Powiązania:
https://bibliotekanauki.pl/articles/1939793.pdf
Data publikacji:
2019
Wydawca:
Polski Uniwersytet na Obczyźnie w Londynie
Tematy:
Commemorative public art
Smoleńsk catastrophe
Monument at Powązki Military Cemetery in Warsaw
Monument for The Victims of the Smoleńsk Tragedy 2010
Marshall Piłsudski Square
Opis:
The national mourning and trauma caused by the tragic crash of the Polish airplane Tu- 154 on landing at the Smoleńsk Sieverny Airport, which claimed the lives of 96 people – all its passengers and crew, has had profound ezects on the political and social azairs of Poland. Countless debates and disagreements concerning the causes and possible consequences of the catastrophe followed. Among them, there has been a heated, politically and socially disruptive discussion concerning monuments which should be erected to commemorate the victims, and where they should be placed in the capital of Poland. The author briemy considers the monument planned at the site of the catastrophe, which was to be erected on the initiative of the Polish and Russian presidents, Bronisław Komorowski and Dmitry Medvedev. Regardless of the well-organised competition that took place at the Centre of Polish Sculpture in Orońsko, and the Jury’s selection of a project of considerable artistic merit, its construction was not approved by the Russians. Two monuments, planned for Warsaw, are presented in the article within a broader theoretical discourse on the nature of commemorative public art, its materials, and expectations of the public. The first monument, designed by Marek Moderau and unveiled on 10th November 2010, is located in Powązki Military Cemetery in Warsaw, and positioned in the K-II quarter of the cemetery. It consists of a huge block of reinforced concrete clad in white granite, broken into two parts of unequal length (12 and 10 metres), linked with 28 graves of the victims; it also shelters under is massive ‘wing’ 12 urns with ashes of unidentified persons. Reminiscent of a broken plane thrust into the ground, it carries two inscriptions: one listing victims’ names and dates of birth, their military ranks or political and social standing, the other honouring the lives lost on the journey to a ceremony marking the 70th anniversary of the Katyń massacre. The second monument, dedicated to the Victims of the Smolensk Tragedy 2010, was unveiled on 10th April 2018. After an acrimonious dispute between two main political parties, the ruling Law and Justice (PiS) and the opposition’s Civic Platform (PO), it was placed on the Marshall Piłsudski Square, one of Warsaw’s most important open public spaces, steeped in history, and hosting over the centuries some of the country’s best known memorials, among them the Tomb of the Unknown Soldier. Made from black granite, it has a stepped shape prompting associations with the stairs to an aircraft, enriched by a symbolic „reading” proposed by its sculptor Jerzy Kalina, who called his work „the stairway to heaven”. The monument also has a second, underground component, visible through a reinforced glass moor, described as an „exhumation pit”, with a reference to Katyń and to many unknown burial sites of Poles murdered in Soviet Russia. It houses 96 commemoratives „lights” – remectors which are to provide night-time illumination for the monument. The controversies concerning the aesthetic merits and political significance of both monuments continue.
Źródło:
Zeszyty Naukowe PUNO; 2019; 15-44
2052-319X
Pojawia się w:
Zeszyty Naukowe PUNO
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

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