scholarly journals Monachijski portret króla Zygmunta Augusta i uwagi o ikonografii ostatniego Jagiellona

Artifex Novus ◽  
2021 ◽  
pp. 24-43
Author(s):  
Jerzy Tadeusz Petrus
Keyword(s):  
Significant Contribution ◽  
16Th Century ◽  
Compositional Techniques ◽  
Royal Patronage ◽  
Art Historians ◽  
Polish Art ◽  
Pictorial Form

W zbiorach Bayerische Staatsgemäldesammlungen w Monachium jest przechowywany portret króla Zygmunta Augusta, który po ponad pół wieku poszukiwań przez polskich historyków sztuki został niedawno odnaleziony i zidentyfikowany. Ma on ogromne znaczenie dla ikonografii ostatniego Jagiellona bowiem, jak dotąd, jest jego jedynym znanym malarskim przedstawieniem w całej postaci, powstałym za życia modela. Wizerunek pozostaje w związku z miniaturowym portretem monarchy w popiersiu, dawniej w kolekcji arcyksięcia Ferdynanda II Tyrolskiego w Ambras, obecnie w Münzenkabinett w wiedeńskim Kunsthistorisches Museum. Oba obrazy, tego samego autora, powstały na polskim dworze tuż przed połową XVI stulecia. Ich twórca był dobrze obeznany ze stosowanymi wówczas we Włoszech i cieszącymi się uznaniem kompozycjami portretowymi. Monachijski obraz trafił do bawarskich zbiorów Wittelsbachów, jak wszystko na to wskazuje, wraz z wyprawą ślubną królewny Anny Katarzyny Konstancji Wazówny, w roku 1642 wydanej za mąż za księcia neuburskiego Filipa Wilhelma. Należał do zespołu wizerunków członków rodziny Jagiellonów, zabranych do Bawarii przez Wazównę, lecz powstał w okolicznościach innych niż pozostałe portrety i jest dziełem o odmiennej genezie artystycznej. Ujawniony w zbiorach monachijskich portret nie tylko w istotny sposób wzbogaca ikonografię ostatniego Jagiellona, lecz ma również znaczenie dla wiedzy o królewskim mecenacie. Summary: The Bayerische Staatsgemäldesammlungen collection in Munich houses a portrait of King Sigismund Augustus, which was recently discovered and identified by Polish art historians following a quest lasting more than half a century. It sheds important light on the iconography of the last Jagiellonian, as it remains to date the only known representation in pictorial form of the model during his lifetime. It is related to a bust portrait miniature of the monarch, formerly found in the collection of Archduke Ferdinand II of Tirol in Ambras, and nowadays on show in the Münzenkabinett in the Kunsthistorisches Museum in Vienna. Both paintings by the same artist were produced at the Polish court just before the mid-16th century. Their creator was well acquainted with the highly regarded compositional techniques used at the time in portraiture in Italy. All the evidence suggests that the Munich painting found its way into the Bavarian Wittelsbach collections as part of the trousseau of Princess Anna Catherine Konstancja Wazówna, who in 1642 married the Neuburian prince Philip Wilhelm. It was included in the collection of portraits of members of the Jagiellonian family, that Wazówna took with her to Bavaria. However, it was painted in circumstances different from other portraits and is a work with a different artistic genesis. This portrait unearthed in the Munich collection not only greatly enriches the existing iconography of the last Jagiellonian, but it also makes a significant contribution to our knowledge of royal patronage.

Old Town, New Contexts

Uprooted ◽  
2011 ◽  
Author(s):  
Gregor Thum
Keyword(s):  
Historic Preservation ◽  
First World War ◽  
Historic Buildings ◽  
World War ◽  
The First World War ◽  
Art Historians ◽  
Polish Art ◽  
First World

This chapter details how Jan Zachwatowicz, Poland's General Conservator from 1945 to 1957, was the country's most powerful voice in the field of historic preservation. Not only did he personally direct the rebuilding of the devastated old towns of Warsaw, Gniezno, and Poznan, but in a widely regarded lecture delivered at the first postwar congress of Polish art historians in August 1945, he formulated the program for reconstructing Poland's historic buildings. Historic preservation was supposed to be limited to the conservation of buildings—in their existing state. However, when an independent Poland was reestablished after the First World War, exceptions were made to the principle of nonintervention, especially for historic buildings regarded as particularly significant for the Polish national cult.

scholarly journals Tezauronimiczny „skarbczyk” sztucznej biżuterii. Kilka uwag o nazwach własnych „drugorzędnych klejnotów”

2021 ◽  
Vol 28 (2) ◽  
pp. 371-392
Author(s):  
Katarzyna Węgorowska
Keyword(s):  
Structural Analysis ◽  
Proper Names ◽  
Art Historians ◽  
Polish Art ◽  
Limited Edition

Imitation jewellery, also known as “secondary gems”, has been people’s companion from antiquity. Its representative objects, however, have rarely been assigned their individualised proper names – thesauronyms. As an answer to the appeal of Polish art historians and museologists: Ewa Letkiewicz, Katarzyna Kluczwajd, Monika Paś and Dorota Zahel, this study is an attempt at a linguistic and culturological presentation of thesauronyms that signify: a pair of earrings, collar, ring, fur fastener clip, necklaces, brooches, duette brooches, jewellery series, collections, lines, sets, limited edition. The attention is also drawn to the specificity of thesauronyms distinguishing similar jewellery items and thesauronyms denoting many various and completely different referents. Moreover, motivation analysis, semantic and motivation analysis, and structural analysis of the names of imitation jewellery names has been conducted. The findings allowed for redefining, verifying, supplementing and extending the term thesauronym.

DAVID J. ROXBURGH, Prefacing the Image: The Writing of Art History in Sixteenth-Century Iran, Studies and Sources in Islamic Art and Architecture, vol. 9 (Leiden: E. J. Brill, 2001). Pp. 289. $59.00 cloth.

2003 ◽  
Vol 35 (4) ◽  
pp. 640-642
Author(s):  
PAUL LOSENSKY
Keyword(s):  
Sixteenth Century ◽  
Art History ◽  
Social Practices ◽  
Primary Objective ◽  
16Th Century ◽  
Intellectual Life ◽  
Islamic Art ◽  
Disciplinary Boundaries ◽  
Art Historians ◽  
Art And Architecture

The title and publication series of Prefacing the Image initially suggest that it treats a topic of interest only to specialists in art history—a dozen or so rhetorically ornate prefaces composed for bound albums of calligraphies, drawings, and paintings (muraqqaע) during the 16th century. However, it quickly becomes apparent that the scope of this study extends far beyond such disciplinary boundaries. “The primary objective of this book is to study the preface through a variety of approaches—historical, cultural, social, and intellectual” (p. 17). By integrating the album preface into a broad network of social practices and literary discourses, Roxburgh's well-researched and probing study should be of interest not only to art historians but also to any reader with an interest in the cultural and intellectual life of the later Persianate world.

scholarly journals Enter the Dragon

2019 ◽  
pp. 237-242
Author(s):  
Maria Poprzęcka
Keyword(s):  
Critical Thinking ◽  
Title I ◽  
Art History ◽  
Academic Life ◽  
Annual Conference ◽  
Academic Institutions ◽  
Art Historians ◽  
Heated Debate ◽  
History Of ◽  
Polish Art

The paper is a reminiscence of my first meeting with the colleagues from the Institute of Art History of Adam Mickiewicz University, which took place at an annual conference of the Association of Art Historians in 1974, titled “Reflection on Art.” Choosing an unusual title, I wanted to convey the impetus with which a group of young art historians from Poznań entered the decent and somewhat stagnant stage of Polish art history. The critique they presented was directed against Polish academic institutions, the problematic of the conference, the empty rituals of academic life, etc. Even though I did not accept all their objections, the heated debate suddenly turned out for me to be a liberating factor, stimulating continuous critical thinking which is an antidote for spiritual and intellectual captivity.

scholarly journals Wejście smoka

2019 ◽  
pp. 393-398
Author(s):  
Maria Poprzęcka
Keyword(s):  
Critical Thinking ◽  
Title I ◽  
Art History ◽  
Academic Life ◽  
Annual Conference ◽  
Academic Institutions ◽  
Art Historians ◽  
Heated Debate ◽  
History Of ◽  
Polish Art

The paper is a reminiscence of my first meeting with the colleagues from the Institute of Art History of Adam Mickiewicz University, which took place at an annual conference of the Association of Art Historians in 1974, titled “Reflection on Art.” Choosing an unusual title, I wanted to convey the impetus with which a group of young art historians from Poznań entered the decent and somewhat stagnant stage of Polish art history. The critique they presented was directed against Polish academic institutions, the problematic of the conference, the empty rituals of academic life, etc. Even though I did not accept all their objections, the heated debate suddenly turned out for me to be a liberating factor, stimulating continuous critical thinking which is an antidote for spiritual and intellectual captivity.

scholarly journals Dark Times: Art and Artists of Vilnius in 1939–1941

2020 ◽  
pp. 326-361
Author(s):  
Giedrė Jankevičiūtė
Keyword(s):  
Art Museum ◽  
Late Autumn ◽  
Nazi Occupation ◽  
Art Scene ◽  
Art Historians ◽  
Big Picture ◽  
Polish Art ◽  
Under Construction ◽  
The City ◽  
Art School

The aim of this paper is to discuss and reconstruct in general features the reality of the Vilnius artistic community from late autumn 1939 to June 1941. This period of less than two years significantly changed the configuration of the artistic community of the city, the system of institutions shaping the art scene as well as the artistic goals. It also brought forth new names and inspired new images. These changes were above all determined by political circumstances: the war that broke out in Poland on 1 September 1939; the ceding of Vilnius and the Vilnius region to Lithuania; two Soviet occupations: in the autumn of 1939 and June 1940, and the subsequent Nazi occupation a year later. The influence of politics on the art scene and the life of artists has been explored in institutional and other aspects by both Lithuanian and Polish art historians, but the big picture is not yet complete, and the general narrative is still under construction. A further aim of this paper is to highlight some elements that have not received sufficient attention in historiography and that are necessary for the reconstruction of the whole. Some facts of cooperation or its absence among artists of various ethnicities are presented, and the question is raised on the extent to which these different groups were affected by Sovietisation, and what impact this fragmentation had on the city’s art scene. The timeline of the activity of the higher art school and the Art Museum has been detailed.

scholarly journals John Knox and education

2017 ◽  
Vol 73 (3) ◽  
Author(s):  
Graham A. Duncan
Keyword(s):  
Significant Contribution ◽  
John Calvin ◽  
16Th Century ◽  
Character Formation ◽  
Universal System ◽  
Late Medieval ◽  
The Church

John Knox the 16th century Scottish reformer made a lasting impact on the Scottish nation in the fields of society, politics, church and education. He is remembered mainly for his reform of the church but he also made a significant contribution to the reform of education, which has lasted until the present day and has impacted on other contexts. Although much of his vision was not realised during his lifetime, his mission continued nonetheless. He was a product of the late Medieval age and his transformation was completed by his experience alongside John Calvin in Geneva. This was then contextualised in his own Scottish situation. Here we examine his work in the field of education with particular reference to the First Book of Discipline. The outcome of his labours was a compulsory, universal system of free education, which involved character formation and enabled all to achieve the limit of their potential.

RENAISSANCE INFLUENCES IN THE RUSIN LITERATURE OF TRANSCARPATHIA IN THE 16TH CENTURY

Rusin ◽  
2020 ◽  
pp. 138-153
Author(s):  
О.M. Slipushko ◽  
◽  
О.S. Lisovskaia ◽  
Keyword(s):  
Significant Contribution ◽  
16Th Century ◽  
Cultural Traditions ◽  
Artistic Heritage ◽  
European Renaissance

The article examines the specificity of the Renaissance influences on the Transcarpathian literature in the 16th century. The authors emphasise that the entry of Russian lands into Lithuania, Hungary, Austria-Hungary, Transylvania, and Poland made Outer Subcarpathia and Transcarpathia accessible to pan-European influences, which conditioned the synthesis of the authentic tradition with the dominant ideas of Western Renaissance. The influence of Hungarian culture was decisive for Transcarpathian literature. During the Renaissance, the Transcarpathian culture developed the concept of “Russianness” – a quality that preserved the Rusinian identity in the contexts of different foreign states. Rusinian literature of Transcarpathia was a synthesis of Hutsul, Boyko, and Lemko cultural traditions. The authors focus on the writings of Pavel Rusin and Sevastyan Klenovich, whose works were connected with the Transcarpathian Rusinian literature, with its ideas of the European Renaissance. Their artistic heritage is a significant contribution to the development of Renaissance Rusinian literature.

Electrochemical nucleation and growth of copper on iron and aluminum: A TEM study of industrial copper cementation

1978 ◽  
Vol 36 (1) ◽  
pp. 454-455
Author(s):  
L.E. Murr ◽  
V. Annamalai
Keyword(s):  
Metal Surface ◽  
Copper Deposit ◽  
Nucleation And Growth ◽  
16Th Century ◽  
Electrochemical Reactions ◽  
Mine Shaft ◽  
De Re ◽  
Copper Precipitation ◽  
Electrochemical Nucleation ◽  
Interesting System

Georgius Agricola in 1556 in his classical book, “De Re Metallica”, mentioned a strange water drawn from a mine shaft near Schmölnitz in Hungary that eroded iron and turned it into copper. This precipitation (or cementation) of copper on iron was employed as a commercial technique for producing copper at the Rio Tinto Mines in Spain in the 16th Century, and it continues today to account for as much as 15 percent of the copper produced by several U.S. copper companies.In addition to the Cu/Fe system, many other similar heterogeneous, electrochemical reactions can occur where ions from solution are reduced to metal on a more electropositive metal surface. In the case of copper precipitation from solution, aluminum is also an interesting system because of economic, environmental (ecological) and energy considerations. In studies of copper cementation on aluminum as an alternative to the historical Cu/Fe system, it was noticed that the two systems (Cu/Fe and Cu/Al) were kinetically very different, and that this difference was due in large part to differences in the structure of the residual, cement-copper deposit.

Searching for the causes why some of the paintings by Mihaly Munkacsy are darkening

1990 ◽  
Vol 48 (2) ◽  
pp. 204-205
Author(s):  
Imre Pozsgai ◽  
Klara Erdöhalmi-Torok
Keyword(s):  
Electron Beam ◽  
Cross Section ◽  
Polyester Resin ◽  
National Gallery ◽  
X Ray ◽  
Art Historians ◽  
Made In ◽  
Grinding And Polishing

The paintings by the great Hungarian master Mihaly Munkacsy (1844-1900) made in an 8-9 years period of his activity are deteriorating. The most conspicuous sign of the deterioration is an intensive darkening. We have made an attempt by electron beam microanalysis to clarify the causes of the darkening. The importance of a study like this is increased by the fact that a similar darkening can be observed on the paintings by Munkacsy’s contemporaries e.g Courbet and Makart. A thick brown mass the so called bitumen used by Munkacsy for grounding and also as a paint is believed by the art historians to cause the darkening.For this study, paint specimens were taken from the following paintings: “Studio”, “Farewell” and the “Portrait of the Master’s Wife”, all of them are the property of the Hungarian National Gallery. The paint samples were embedded in a polyester resin “Poly-Pol PS-230” and after grinding and polishing their cross section was used for x-ray mapping.

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