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Wyświetlanie 1-3 z 3
Tytuł:
O peregrynacjach artysty i jego dzieła. Przypadek "Efektu melodramy" Feliksa Pęczarskiego
About the peregrinations of artist and his work. The case of the Melodrama effect by Feliks Pęczarski
Autorzy:
Świętosławska, Agnieszka
Talanowa, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1197976.pdf
Data publikacji:
2019-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Feliks Pęczarski (1804/1805–1862)
malarstwo polskie XIX wieku
zbiory rosyjskie
sceny rodzajowe
kolekcjonerstwo
19th-century Polish painting
Russian collections
genre scenes
art collections
Opis:
Artykuł poświęcony jest obrazowi Efekt melodramy należącemu do zbiorow Państwowego Muzeum Sztuki w Niżnym Nowogrodzie w Rosji. Blisko 60 lat temu Andrzej Ryszkiewicz zidentyfikował go jako dzieło warszawskiego malarza z połowy XIX wieku, Feliksa Pęczarskiego (1804/1805–1862). Tym samym badacz ten przyczynił się do poszerzenia wiedzy o nielicznie niestety zachowanym dorobku niezwykle ciekawego, głuchego artysty, ktory w swoich czasach zasłynął nie tylko jako autor biedermeierowskich portretow, ale przede wszystkim komicznych scen rodzajowych wykorzystujących karykaturalną charakterystykę fizjonomii postaci i groteskowo przerysowaną mimikę. Atrybucja zaproponowana przez Ryszkiewicza została w pełni przyjęta zarowno przez środowisko polskich badaczy, jak rownież rosyjskich muzealnikow opiekujących się kolekcją w Niżnym Nowogrodzie. Jednakże dotychczas nie została wyjaśniona kwestia sposobu, w jaki obraz trafił do odległej rosyjskiej prowincji. Niniejszy artykuł stanowi probę rozwiązania tej zagadki. Według notatki XIX-wiecznego pamiętnikarza Franciszka Ksawerego Preka, ktory znał Pęczarskiego osobiście, ten ostatni podczas kilkuletniego pobytu na Lubelszczyźnie (gdzie powstał omawiany obraz) portretował bliżej nieokreśloną generałową rosyjską. Do zbiorow muzealnych Efekt melodramy trafił w 1924 roku z zamku we wsi Jurino. Przeprowadzona analiza, bazująca na kwerendzie w dawnych inwentarzach kolekcji zamkowej oraz badaniach historii dwoch arystokratycznych rodow związanych z majątkiem, Szeremietiewow i Skobelewow, pozwoliła wskazać osobę, ktora potencjalnie mogła być pierwszym nabywcą obrazu.  
The article focuses on the painting Efekt melodramy (Melodrama Effect) belonging to the collection of the State Museum of Art in Nizhny Novgorod in Russia. Nearly 60 years ago, Andrzej Ryszkiewicz identified it as the work of the mid-nineteenth century, Warsaw painter, Feliks Pęczarski (1804/1805–1862). Thus, Ryszkiewicz has contributed to knowledge of the unfortunately poorly preserved ouvre of this extremely interesting deaf artist. In 19th century Pęczarski was acknowledged as the author of Biedermeier portraits, but above all he was famous for his comic genre compositions in which he used the caricature of character’s physiognomy and grotesquely exaggerated facial expressions. The attribution proposed by Ryszkiewicz was fully accepted by the circles of Polish researchers as well as Russian museum staff in Nizhny Novgorod taking care of the collection. However, the question of how the painting made its way to a distant Russian province has not yet been clarified. This article is an attempt to solve the puzzle. According to a note left by the nineteenth-century memoirist Franciszek Ksawery Prek, who knew Pęczarski in person, during a few-year stay in the Lublin region (this is where the painting was made) the artist portrayed a wife of an unidentified Russian general. In 1924 the painting was taken from the castle in the village of Jurino and has become a part of the State Museum of Art in Nizhny Novgorod collection. This analysis, based on a query in old castle collection inventories and on research on the history of two aristocratic families related to the estate, Sheremetyevi and Skobelev, allowed to identify a person who could potentially be the first purchaser of Pęczarski’s work.
Źródło:
TECHNE. Seria Nowa; 2019, 3; 11-27
2084-851X
Pojawia się w:
TECHNE. Seria Nowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Oficjalny rysownik” I Brygady
The ‘official draughtsman’ of the 1st Brigade
Autorzy:
Żywicki, Jerzy
Powiązania:
https://bibliotekanauki.pl/articles/538113.pdf
Data publikacji:
2014
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Jan Gumowski
I wojna światowa
oficjalny rysownik I Brygady
artysta-żołnierz
żołnierze Legionów Polskich
portrety legionistów
portrety austriackich oficerów
sceny rodzajowe o tematyce wojennej
rysunkowa kronika wojennej kampanii Legionów Polskich
Opis:
Jan Gumowski (1883-1946) was the Kraków painter, graphic artist and draughtsman. During the studies in the Kraków Academy of Fine Arts and upon graduating, he was awarded and distinguished in artistic contests. The success in one of them made him a holder of the Czartoryski Family Scholarship and allowed to complete the studies in art in Florence, Munich and Paris. Immediately upon returning to the country he set out to war – on 6 August, 1914 he became a soldier of the 1st Brigade of the Polish Legions. In the moments outside the duty, he created drawings in pencil and watercolour paintings, in which he portrayed the Legions’ soldiers and depicted the scenes from the reality of war. There were many artists serving in the Polish Legions, however in his letters to wife Gumowski assured her that the only ‘official draughtsman’ of the 1st Brigade is him. The period of intensive artistic work of Gumowski took place for the most in a time of resting of the Legions at the Nida River and in Karasin, however also during the front’s military operations – near Kostiuchnówka and at Stochód. His other recognized works include the drawings and paintings made during the stay in hospitals and service in an Austrian regiment in Kielce and at the Command of the Polish Legions Group in Kozienice. The war output of Gumowski consists for the most in portraits of the officers, regimental doctors and chaplains. When portraying them, the artist created a specific iconotheca of the Legions’ types and characters. There are very few portraits of the Austrian officers and soldiers in Gumowski’s output. The war-related works of Gumowski have evaluated in time. Pencil portraits of the individuals were specific for the early period. Since the Volyn Campaign, his works extended by double and collective portraits. It was also the era of detailed ‘posed’ portraits for scenic compositions. Such works depicted the officers and soldiers of the 1st Brigade in non-official, even casual poses and different situations – during leisure, playing cards or singing, during the staff meetings, in dug-outs and trenches, in the front redoubts or observation positions. Drawings and sketches of Gumowski neither mythicize nor try to show the heroic aspect of the Legions. These are rather a kind of a realistic chronicle telling us a story of the people from the two-year campaign of the Polish Legions.
Źródło:
Ochrona Zabytków; 2014, 2; 23-36
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kompozycje historyczne i rodzajowe Stanisława Chlebowskiego (1835-1884) − w kręgu inspiracji malarstwem francuskim
Stanisław Chlebowski’s (1835-1884) Historical and Genre Compositions − within the Circle of the Inspiration of French Painting
Autorzy:
Studziżba-Kubalska, Beata
Powiązania:
https://bibliotekanauki.pl/articles/2121226.pdf
Data publikacji:
2009
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
sceny rodzajowe Chlebowskiego
genre historique
sceny orientalne
studium akcesoriów
malarstwo historyczne Chlebowskiego
orientalizm
Benjamin Constant − Wjazd Mahometa II do Konstantynopola
Stanisław Chlebowski − Wjazd sułtana Mahometa II do Konstantynopola
Chlebowski's genre scenes
oriental scenes
study of accessories
Chlebowski's historical painting
orientalism
Benjamin Constant
Mahomet II Entry to Constantinople
Stanisław Chlebowski
Opis:
Through its artistic biography, Stanisław Chlebowski (1835-1884) was linked mainly with France and Turkey. He studied in Petersburg Art School. In 1859 he went abroad to continue his studies; he settled in Paris and studied with J.L. Gérôme. In 1864 he exposed the painting Joanna d'Arc in Prison in Amiens in a Salon. It was the painting that Napoleon had bought for the city of Bar-le-Duc. Being invited by sultan Abdülaziz in 1864, the artist left for Constantinople where he sojourned for twelve years. In the years of 1876-1881 he lived in Paris, and then returned to the country. This period meant work on his monumental canvass Mahomet II's Entry to Constantinople (1874-1884), the painting that was left incomplete. Chlebowski's early works show his care about details and his love for genre. During his first visit to France the artist painted mainly anecdotic scenes from history, scenes that belonged to the genre historique, strongly inspired by P. Delaroche. This tendency is represented by Joanna d'Arc. The influence of Gérôme's painting in Chlebowski's works of that period can hardly be found. Both artists were characterised by their love for precise studies of accessories – the French scholar owed them also to Delaroche, who was his disciple. In his later period, the Polish painter was under a strong impact of Gérôme's orientalist painting. He had taken over from him (like e.g. A. Pasini, F.A. Bridgman, and W. Vierieshtchagin), above all, the type of composition with one or several figures; they were of definite oriental traits of an ethnographic group “written in” the architectonic frame of a portal, gate, or gateway. Chlebowski painted such small works, owing to his earlier sketches, mainly after his return from Constantinople to Paris. They are characterised by more freedom in painting in relation to the French painter's veristic, almost photographic, paintings. In 1876, the French orientalist Benjamin Constant exhibits his Mahomet's Entry to Constantinople in the Salon. In the same year Chlebowski returns to Paris with a view to paint a grand composite on the fall of the capital of Byzantium (he began working on it already in Turkey). Painting Mahomet's Entry to Constantinople, he obviously, like Constant, referred to J. von Hammer's Histoire de l'Empire Ottoman (that had been published in Paris in 1836). Inasmuch as the French painter's canvass is to a great extent an impressive illustration of the event, full of picturesque oriental accessories, Chlebowski in his monumental and historiosophic compositions – like earlier E. Delacroix and H. Regnault – managed to break the border between orientalist painting and peinture d'histoire.
Źródło:
Roczniki Humanistyczne; 2009, 56-57, 4; 139-161
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-3 z 3

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