Writers of the Time of National Partition on the Jasna Góra Pilgrimage Route
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Henryk Siemiradzki and the International Artistic Milieu
ACCADEMIA POL ACCA DELLE SCIENZE DELLE SCIENZE POL ACCA ACCADEMIA BIBLIOTECA E CENTRO DI STUDI A ROMA E CENTRO BIBLIOTECA ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU FRANCESCO TOMMASINI, L’ITALIA E LA RINASCITA E LA RINASCITA L’ITALIA TOMMASINI, FRANCESCO IN ROME DELLA INDIPENDENTE POLONIA A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK CONFERENZE 145 ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA ISSN 0239-8605 ROMA 2020 ISBN 978-83-956575-5-9 CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK. ROMA 2020 Pubblicato da AccademiaPolacca delle Scienze Bibliotecae Centro di Studi aRoma vicolo Doria, 2 (Palazzo Doria) 00187 Roma tel. +39 066792170 e-mail: [email protected] www.rzym.pan.pl Il convegno ideato dal Polish Institute of World Art Studies (Polski Instytut Studiów nad Sztuką Świata) nell’ambito del programma del Ministero della Scienza e dell’Istruzione Superiore della Repubblica di Polonia (Polish Ministry of Science and Higher Education) “Narodowy Program Rozwoju Humanistyki” (National Programme for the Develop- ment of Humanities) - “Henryk Siemiradzki: Catalogue Raisonné of the Paintings” (“Tradition 1 a”, no. 0504/ nprh4/h1a/83/2015). Il convegno è stato organizzato con il supporto ed il contributo del National Institute of Polish Cultural Heritage POLONIKA (Narodowy Instytut Polskiego Dziedzictwa Kul- turowego za Granicą POLONIKA). Redazione: Maria Nitka, Agnieszka Kluczewska-Wójcik Recensione: Prof. -
Accents of Chopin Anniversaries in Territories Annexed by Prussia
Interdisciplinary Studies in Musicology g, 2011 © Department of Musicology, Adam Mickiewicz University, Poznan, Poland MAGDALENA PIOTROWSKA (Poznań) Accents of Chopin anniversaries in territories annexed by Prussia ABSTRACT: This article discusses the way in which the Chopin Year of 1910 was cele brated in Wielkopolska. It presents a script prepared in the nineteenth century and shows similarities with celebrations of Mickiewicz and other Polish heroes and artists. Invariably used in such commemorations was a “symbolic capital” that made it easier to create an intergenerational code, thereby disseminating knowledge of national culture and history. A significant role was played in 1910 by a centenary panel, which produced “Guide lines for popular Chopin celebrations” and also many occasional, popular materials. Chopin’s induction into the national pantheon involved the use of audio material (vo cal and instrumental concerts), verbal material (articles, poems, lectures and bro chures) and also a visual code (anniversary window stickers, tableaux vivants or tab leaux illuminés). Illuminated pictures - recommended by a catalogue of slides pro duced in Poznań - stimulated the imagination of the masses and served as a guide through the composer’s life and work, and their impact was enhanced by a commen tary. Most of the living pictures were probably inspired by Henryk Siemiradzki’s can vas Chopin grający na fortepianie w salonie księcia Radziwiłła [Chopin playing the piano in Prince Radziwill’s salon] and Józef Męcina Krzesz’s painting Ostatnie akordy Chopina [Chopin’s last chords]. This combination of codes made it possible to create a model adapted to the times and to the expectations of a mass audience. -
JULIUSZ KOSSAK a Paint Brush from Horse Hair
BLOODLINE JULIUSZ KOSSAK A paint brush from horse hair Text by: Tomasz Zbigniew Zapert Translation by: Joanna Krawczyk Photos: from the Regional Museum of Tarnów (Muzeum Okręgowe w Tarnowie) collection and by Krzysztof Dużyński An article from polskiearaby.com BLOODLINE nd Museum of Tarnów (Muzeum Okręgowe w Tarnowie) collection, Pola w Tarnowie) (Muzeum Okręgowe Tarnów Museum of Juliusz Kossak: „Grey stallion” (1844). Photo from the Regional stallion” (1844). Photo from „Grey Juliusz Kossak: The horse, man’s companion for centuries widely used for farm work, transport and traveling, was an object of interest for artists, though usually not the leading motif. In Polish painting this changed due to JULIUSZ KOSSAK (1824–1899). Who knows if that would’ve happened if the painter did not come across Arabian horses. Honoré de Balzac distinguished three synonyms of beauty: une jolie femme qui dance (a beautiful lady dancing); un pur sang en libérté (a pure blood steed set free); une frégate sous voiles (a frigate under full sail). The second aesthetic model became an artistic trademark of Kossak, the progenitor of a clan which rendered great services for Polish culture. www.tuttoarabi.com - TUTTO ARABI | 249 BLOODLINE A carriage – a catalyst for labor On October 29th, 1824, Juliusz Kossak was born in a small town nowie) collection, Poland Nowy Wiśnicz. Why there? Because his careless pregnant mother decided to leave the Kniahinin settlement by the upper San River and travel to Cracow. The journey by a four-horse carriage over bumpy roads of the Podkarpacie region quickened the delivery. Fortunately, the group was passing by Wiśnicz. -
2-Łam OM 23.Indd
OPUSCULA MUSEALIA 23 2015 doi 10.4467/20843852.OM.15.008.5386 s. 83–99 DOMINIKA SARKOWICZ, MARZENA SIEKLUCKA, ANNA KLISIŃSKA-KOPACZ, PIOTR FRĄCZEK, MICHAŁ OBARZANOWSKI National Museum in Kraków The application of modern analytical techniques to the exami- nation of the Henryk Siemiradzki’s large-size painting „Nero’s Torches” ABSTRACT Nero’s Torches by Henryk Siemiradzki is one of the most important and the largest in size paintings in the collection of the National Museum in Kraków. In 1879, the painter donated his famous work to the nation. It was assigned to the Cloth Hall. By this act the artist initiated the start of the fi rst national museum in Poland. The painting was thoroughly examined in order to identify the technology and technique of its production, elements of the creative process and the use of materials. Tests in situ of such a large work (3.76 m x 7.11 m) were possible thanks to the use of modern techniques and mobile analytical equipment. X-ray, IR and UV photos of the painting were taken. In view of the large size of the paint- ing, 236 snapshots using X-ray radiography (DX) equipped with CARESTREAM DRX-1 System detector were needed to obtain an X-ray image of the entire painting. Then pictures obtained from individual snapshots were put together using Photoshop CS6 computer pro- gramme to cover the entire painting. UV and IR images consisted of 26 snapshots. Pictures in analytical radiation and visible light helped to better understand the painting technique, the method of painting individual parts, preparatory drawing and the creative process. -
Central Europe Beautiful and Monumental Painting from Poland and Czechoslovakia
Jan Matejko (1838-1893) Rejtan, or the Fall of Poland 1866 oil on canvas 282 cm × 487 cm (111 in × 192 in) Royal Castle, Warsaw Jan Matejko (1838-1893) Jan Matejko (1838-1893) Astronomer Copernicus: Conversation with God 1872 oil on canvas 221 × 315 cm (87 × 124 in), Museum of the Jagiellonian University, Kraków The figure on the far right is thought to be Pukirev. Masters of Central Europe Beautiful and Monumental Painting from Poland and Czechoslovakia Americans who lived during the Cold its notable buildings and edifices: castles, Polish and Czech artists of great skill attained War may remember the countries of Central palaces, houses, bridges, and great libraries. international renown. 1 Europe primarily as the satellite buffer Warsaw and its memory would be obliterated states dominated by the Soviet Union, their from the face of the earth. After the sudden unraveling of the Soviet Jan Matejko (1838-1893) Sigismund Augustus and Barbara people living behind the “Iron Curtain” under Union in 1991, many of the former Soviet at the Radziwiłł Court in Vilnius 1867 the oppression of totalitarian governments. Over many centuries, the Slavic regions of satellites gained national sovereignty for the oil on canvas 127 cm (50 in). Width: 107 cm (42.1 in). We also remember the Soviet repression Central Europe were repeatedly overrun by first time in centuries and formed democratic [143 x 122,5 x 5] cm of the Hungarian Revolution of 1956 and their stronger neighbors. They continually governments. As these regions opened up to National Museum in Warsaw its invasion of Czechoslovakia in 1968 to struggled to affirm their ethnic and greater freedom of travel and the influence suppress attempts to reform the hard-line cultural identities and gain political self- of the Internet, we of the West gained greater Communist regime. -
The Art of Printing and the Culture of the Art Periodical in Late Imperial Russia (1898-1917)
University of Alberta The Art of Printing and the Culture of the Art Periodical in Late Imperial Russia (1898-1917) by Hanna Chuchvaha A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Modern Languages and Cultural Studies Art and Design ©Hanna Chuchvaha Fall 2012 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. To my father, Anatolii Sviridenok, a devoted Academician for 50 years ABSTRACT This interdisciplinary dissertation explores the World of Art (Mir Iskusstva, 1899- 1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo (Apollon, 1909- 1917), three art periodicals that became symbols of the print revival and Europeanization in late Imperial Russia. Preoccupied with high quality art reproduction and graphic design, these journals were conceived and executed as art objects and examples of fine book craftsmanship, concerned with the physical form and appearance of the periodical as such. Their publication advanced Russian book art and stimulated the development of graphic design, giving it a status comparable to that of painting or sculpture. -
Henryk Siemiradzki Academic Revealed Through Analytic Photography of Four MNW Paintings by Henryk Siemiradzki
14.20 – 14.40 Ksenia Zdzieszyńska-Demolin (National Museum in Warsaw), Unusual, but whether untypical? Methods in the workshop of an international Henryk Siemiradzki academic revealed through analytic photography of four MNW paintings by Henryk Siemiradzki. and the international artistic 14.40 – 15.00 Anna Masłowska (National Museum in Warsaw), milieu in Rome Henryk Siemiradzki’s painting on the European market of photographic reproductions Polish Academy of Sciences Scientific Center in Rome, Vicolo Doria 2 of works of art. 15.00 – 15.20 Jakub Zarzycki (University of Wrocław; Polish Institute of Word Art Studies), 8 November 2018 Artists, Rome and “Il Popolo romano”(1876-1902) – reconnaissance. 15.20 – 15.40 Discussion 8.45 – 9.00 – registration 15.40 – 16.00 Coffee break Opening of the conference SESSION VIII: Siemiradzki on display 9.00 – 9.10 Welcome: Beata Brózda (Polish Academy of Sciences Scientific Center in Rome) and 16.00 – 16.20 Agnieszka Tymińska (National Institute of Polish Cultural Heritage Abroad POLONIKA) Dr Agnieszka Kluczewska-Wójcik (Vice-President of the Polish Institute of World Art 9.10 – 9.30 Studies), Prof. Jerzy Malinowski (President of the Polish Institute of Word Art Studies; Nicolaus Marketing academism: Henryk Siemiradzki’s strategies of display. Copernicus University, Toruń) 16.20 – 16.40 Dr Veronica Irina Bogdan (Vice-Director of the Museum of the Russian Academy of SESSION I: Introduction – Academic tradition and Siemiradzki Fine Arts, St. Petersburg), Henryk Siemiradzki at the World and International exhibitions. 9.30 – 10.00 16.40 – 17.00 Prof. Jerzy Miziołek (University of Warsaw), Lidia Gerc (Polish Institute of World Art Studies), Siemiradzki and Sienkiewicz: some observations on a “dialogue” between words and Siemiradzki in Vienna. -
Henryk Siemiradzki
14.20 – 14.40 Ksenia Zdzieszyńska-Demolin (National Museum in Warsaw), Henryk Siemiradzki Unusual, but whether untypical? Methods in the workshop of an international academic revealed through analytic photography of four MNW paintings by Henryk and the international artistic Siemiradzki. 14.40 – 15.00 milieu in Rome Anna Masłowska (National Museum in Warsaw), Henryk Siemiradzki’s painting on the European market of photographic reproductions Polish Academy of Sciences Scientific Center in Rome, Vicolo Doria 2 of works of art. 15.00 – 15.20 Jakub Zarzycki (University of Wrocław; Polish Institute of Word Art Studies), 8 November 2018 Artists, Rome and “Il Popolo romano”(1876-1902) – reconnaissance. 15.20 – 15.40 Discussion 8.45 – 9.00 – registration 15.40 – 16.00 Coffee break Opening of the conference SESSION VIII: Siemiradzki on display 9.00 – 9.10 Welcome: Prof. Piotr Salwa (Director of the Polish Academy of Sciences Center in Rome) 16.00 – 16.20 Agnieszka Tymińska (National Institute of Polish Cultural Heritage Abroad POLONIKA) Dr Agnieszka Kluczewska-Wójcik (Vice-President of the Polish Institute of World Art 9.10 – 9.30 Studies), Prof. Jerzy Malinowski (President of the Polish Institute of Word Art Studies; Nicolaus Marketing academism: Henryk Siemiradzki’s strategies of display. Copernicus University, Toruń) 16.20 – 16.40 Dr Veronica Irina Bogdan (Vice-Director of the Museum of the Russian Academy of SESSION I: Introduction – Academic tradition and Siemiradzki Fine Arts, St. Petersburg), Henryk Siemiradzki at the World and International exhibitions. 9.30 – 10.00 16.40 – 17.00 Prof. Jerzy Miziołek (University of Warsaw), Lidia Gerc (Polish Institute of World Art Studies), Siemiradzki and Sienkiewicz: some observations on a “dialogue” between words and Siemiradzki in Vienna. -
Elżbieta Jeżewska Malarstwo Historyczne W Zbiorach Muzeum Narodowego W Kielcach : (Wydarzenia Do II Wojny Światowej)
Elżbieta Jeżewska Malarstwo historyczne w zbiorach Muzeum Narodowego w Kielcach : (wydarzenia do II wojny światowej) Rocznik Muzeum Narodowego w Kielcach 23, 69-109 2007 Rocznik Muzeum Narodowego w Kielcach Tom 23, Kielce 2007 ELŻBIETA JEŻEWSKA MALARSTWO HISTORYCZNE W ZBIORACH MUZEUM NARODOWEGO W KIELCACH (WYDARZENIA DO II WOJNY ŚWIATOWEJ) W wystroju siedziby Muzeum Narodowego w Kielcach - w pałacu biskupim - znajdują się m.in. obrazy z krakowskiego warsztatu Tomasza Dolabelli: sceny z wojen polsko-szwedzkich i polsko-moskiewskich, z lat ok. 1611-1635 oraz pol skiego sądu nad arianami z 1638 r., z alegorycznymi uzupełnieniami, wykonane w technice olejnej na płótnie i wmontowane w stropy ramowe w apartamencie se natorskim. Sceny te są mocnym punktem odniesień do naszych dziejów z okresu panowania Wazów. W zbiorach muzeum są XIX-wieczne kopie olejne niektórych z tych malowideł, zrealizowane w czasie ich restauracji prowadzonej przez arty stę malarza Aleksandra Rycerskiego w latach 1860-1862. Ponadto w muzeum jest grupa muzealiów, w tym około 100 obrazów, które zaliczamy do malarstwa historycznego oraz historyczno-rodzajowego i te przed stawimy dołączając ich indeks na końcu artykułu. Ukazują one sceny oddają ce ważne fakty z dziejów Polski i promują postacie historyczne, odzwierciedlają też stosunki Polski z krajami i narodami ościennymi oraz europejskimi. Ponadto kilka obrazów - z czasów młodopolskiego symbolizmu (XIX/XX) - odnosi się do pradziejów. W muzeum znajdują się także rysunki i grafiki (Dział Rycin) oraz prace plastyków na temat współczesnych nam wydarzeń politycznych, np. stanu wojennego na przełomie 1981/1982 i oficjalnych wizyt w ojczyźnie Papieża Jana Pawła II, w tym w Kielcach w 1991 r. - w tutejszym muzeum (Dział Sztuki Współ czesnej). -
Henryk Siemiradzki
HENRyk SiEMIRADzKi (Pechenegi, Ukraine 1843- Krakow, Poland 1902) The Rape of the Sabine Women signed in Cyrillic (lower right) and dated '27 August 1867' (lower right) pen and ink heightened with bodycolour over pencil on paper 54 x 76 cm (21½ x 30 in) N THIS DRAWING HENRYK SIEMIRADZKI HAS PRESENTED an intense and dramatic interpretation of the story of The Rape of the Sabine Women. The Rape (in this context, rape means abduction) is supposed to have occurred in the early history of Rome, not long after its foundation by Romulus. Romulus and his troops sought to find wives iin order to start new families and ensure the future growth of the population. They looked to the Sabines or Sabini, an Italic tribe who lived in the central Apennine region of ancient Italy, but negotiations proved futile as the Sabines feared the emergence of a rival society and so refused to allow their women to marry the Romans. Consequently Romulus and his followers planned to abduct the Sabine women. He arranged a magnificent festival to which he invited the inhabitants of neighbouring settlements, including the Sabines, with their wives and children. During the festivities, at a given signal, the young men of Rome broke into the crowd and, choosing only the unmarried maidens of the Sabines, carried them off.A ccording to Plutarch (c.46-120AD) ‘they did not commit this rape wantonly, but with a design purely of forming alliance with their neigbours by the greatest and surest bond.’¹ Henryk Siemiradzki, Svyatoslav’s Warriors in the Battle of Silistria, In The Rape of the Sabine Women Siemiradzki has chosen to depict the State Historical Museum, Moscow (Figure 1) frenzy of the abduction. -
Polish People and Napoleon
Polish people and Napoleon Polish people and Napoleon Lesson plan (Polish) Lesson plan (English) Polish people and Napoleon Let the Emperor live! Source: Wojciech Kossak, Niech żyje cesarz!, 1914, domena publiczna. Link to the lesson You will learn about the polish attitude towards Napoleon, and his attitude towards the Polish cause; to list the examples of Polish engagement on Napoleon Bonaparte's side. Nagranie dostępne na portalu epodreczniki.pl Nagranie abstraktu The military confrontation between France and Austria, Prussia and Russia preceding the establishment of peace terms in Tilst made the Polish cause a bargain card of the European diplomacy. To Napoleon the Duchy of Warsaw was an important part of his Empire's political system. Not all Poles, however, supported cooperation with the French. Kościuszko, among others, was an opponent of linking the Polish cause with Napoleon. He flatly refused to cooperate with the French politicians who addressed him. He believed that Poles should fight for their freedom on their own. The enlargement of the area of the Duchy of Warsaw in 1809 undermined the relations between France and Russia. It was then that the idea of cooperation with the Tsar returned, brought back by Czartoryski at Alexander I's request. Nonetheless, the idea was rejected by the Duchy's authorities. The dilemma returned after Napoleon's defeat in Moscow. Prince Józef Poniatowski, stationed with the Polish troops in Kraków, having thought the situation through ultimately refused to go over to the Russian side. Napoleon's defeat in Leipzig and Poniatowski's death in October 1813 marked the end of the Polish pro‐French orientation. -
Historic Theatres in Europe by 2017
Baltic Route The Database The European Route Project Do you want to learn more about theatre architecture? Visit the Theatre has been the foundation of European culture free database www.theatre-architecture.eu. There you will for over 2500 years. Buildings erected for this art reflect find information on more than 350 European theatres, including our history and can be found all over Europe. Together, a rich photographic documentation. The database it will present they are an important part of our common European all historic theatres in Europe by 2017. heritage. ‘The European Route of Historic Theatres’ started in 2007 with four routes: German Route, Nordic Route, European Route Channel Route and Italian Route. It turned out to be an excellent idea for travellers who enjoy theatre, and Travel along the Nordic Route with its theatres in Sweden, the E.U. agreed to support its extension throughout Norway and Denmark. Cross the English Channel and visit Europe. Sixteen partners from twelve countries are historic theatres in Gre- joining forces in order: at Britain, Holland and – to extend the cultural tourism route throughout the Belgium on the Channel continent, by selecting the 120 most beautiful, best pre- Route. Admire theatres served and most interesting historic theatre buildings on the Emperor Route across Europe – to build the first ever internet database of all existing in Austria and in the historic theatres in Europe Czech Republic. Travel – to create the touring exhibition ‘The history of Eu- to the oldest theatres in rope – told by its theatres’, that will be on show from Europe along the Italian 2015 to 2017 in Warsaw, Copenhagen, Vienna, Munich, Route.