The art of resident monastic painter Jan Jerzyczek (1788-1842) is paradoxical, as his technical skills and painting technique were categories as folk art even though the artist himself copied 17th ...century work and his paintings are based on 16th century Antwerpian engravings as well as his own experience of the Calvary’ mystery plays. Authors of monographs on the Calvary complex barely mention Jerzyczek, yet even without providing a historical, economic, and political context of the job of a resident monastic painter in the early 19th century, due to which they fail to notice the phenomenon of Jan’s paintings in the course the changes that were in progress at that time. The aim of this article is to organise knowledge on Jerzyczek’s activity and work in the Calvary, which would serve as the basis for determining the iconography of original Calvary scenery and images which were removed in the course of the first comprehensive ‘maintenance’ of the Polish Jerusalem under the supervision of Gaudenty Thynell OFM. At the same time, a closer look at Jerzyczek’s paintings allows us to perceive the visual arts (mainly painting) in the Calvary in the first half of the 19th century as a replacement for the mystery play scenes removed after 1772, the observance of which (according to Austrian authorities) was incompatible with the solemnity of the service. Jerzyczek’s art is also paradoxical in that he was much better at painting pictures inspired by his own participation in Calvary mystery plays when personal experience prevailed over his printed influences.
The aim of this study is to present one of the most important defining features of modern Hamburg goldsmithing, namely the specialization of the workshops operating in 17th and first half of 18th ...century. With the widespread replication of the characteristic examples of Hamburg artwork, the features differentiating local products from those made in other goldsmithing centres became more and more recognizable. The article briefly describes several Hamburg silvers preserved in the country, both in private and museum collections. In view of the fact that most of the silvers from the great godsmithing centre of our interest can only be found in Hamburg itself or in Russia - Polish artefacts, though not comparable in quantity, can shed some light on the correct understanding of the artistic merit and character of one of the most important centres of goldsmithing in modern history.
Helena Grabschrift was born on 18 April 1909 in Tuchów. Starting 1929, she studied at the Krakow Academy of Fine Arts, taught by such artists as Władysław Jarocki, Wojciech Weiss and Stanisław ...Kamocki. In late 1930s she became involved with the Krakow Association of Jewish Painters and Sculptors. She was one of the most active members of the organisation, and made arrangements for the last Krakow exhibitions of the works of Jewish painters before the war. For a long time, nothing was known of her life after the end of the Second World War; she was considered either dead or missing. The author of the present article managed to find sources confirming that the artist had survived the war, and to contact her family in Israel. Consequently, it was possible to add to the artist’s biography many new details from pre-war years, the period of Nazi occupation, as well as her later life in Israel, where she moved with her husband Henryk Taffet. Unfortunately, not much has survived from the artist's pre-war output, therefore the inter-war press remains the most important source of information about her work.
Elements of Traditional Architecture in a Unique Documentary Fund: The Replies to The Romanian Language Museum’s 2nd Questionnaire. The House. The present paper’s aim is to demonstrate the scientific ...importance of the traditional architecture elements preserved in the documentary fund created during the inter-war period at the Romanian Language Museum; the fund is the result of the indirect linguistic survey led by Sextil Pușcariu. The survey included eight thematic questionnaires, the second of which – called The House – recorded the entire vocabulary and knowledge about the culture of building and housing. As the most complex, the 2nd Questionnaire. The House had 489 questions, from the general ones regarding social aspects of housing, to the most detailed ones about the choosing of the site and a minute description of each of the building stages and techniques used by the community. Tributary to „Wörter und Sachen” („Words and Things”) German methodology at the beginning of the 20th century, which claimed that the study of words – to establish their etymology and history – should be done in close connection to the study of artefacts and their cultural lives, Sextil Pușcariu encouraged the correspondents to the Museum’s surveys to illustrate their replies, offering, thus not only linguistic information, but also drawings, no matter how primitive. The 439 replies to the 2nd Questionnaire. The House coming from all the Romania’s regions after Great Union gathered graphical representations of the housing which were and are at the same time ethnographical proof from the beginning of the 20th century, unique through their genuine expressiveness. Thus, the manuscripts include over 2500 graphical representations among which numerous well-done drawings illustrating the most spread house type in the village, but also gates or wells. At the same time, certain drawings minutely show techniques of vernacular construction, systems used for the closing of doors and windows, or whole traditional households with all their elements, from the main buildings to the outbuildings, fences, gates, fountains, fodder storehouses or livestock. This paper demonstrates these unique documents’ importance to the understanding of the housing universe and rural architecture during the inter-war period, emphasizing their value as a useful resource for the contemporary specialists from various domains, from linguists – for whom the documentary fund was created – to anthropologists and ethnographers, but also to specialists from landscape architecture, creative industry or engineering focused on the knowledge of traditional building techniques.
The paper reflects on Il libro d'arte in Italia (1935-1965) edited by Massimo Ferretti (Pisa, Edizioni della Normale, 2021), as a starting point for further critic reasonings about the relationship ...between History of Art and Publishing in the Twentieth century. Recalling the statements in the book, the paper remarks a range of topics, like the material aspects of editorial production, such as photography as illustration technique, and the planning of specialized series as the output of cultural projects. This demonstrates how the history of the book of art is linked to the cultural development of the 20th century in Italy.
The architecture of the Habsburg period left landmarks in the provincial capital Sarajevo. But this orientalizing ("Moorish") style also found expression in the provinces. More than other places, it ...left its mark on the central Bosnian town of Travnik. Its designation as the seat of the district administration, its connection to the railroad network and construction activity as a result of major fires ensured that the district office was bustling with activity. The central question of this study is the role played by architects and engineers in the service of the provincial administration and their superordinate decision-makers in the spread of this style and the consolidation of a repertoire of forms. How was cultural convergence administered? What forms did it take outside the metropolitan areas? And what about this "colonial" heritage today?
"This collection embraces the increasing interest in the material world of the Renaissance and the early modern period, which has both fascinated contemporaries and initiated in recent years a ...distinguished historiography. The scholarship within is distinctive for engaging with the agentive qualities of matter, showing how affective dimensions in history connect with material history, and exploring the religious and cultural identity dimensions of the use of materials and artefacts. It thus aims to refocus our understanding of the meaning of the material world in this period by centring on the vibrancy of matter itself. To achieve this goal, the authors approach ""the material"" through four themes - glass, feathers, gold paints, and veils - in relation to specific individuals, material milieus, and interpretative communities. In examining these four types of materialities and object groups, which were attached to different sensory regimes and valorizations, this book charts how each underwent significant changes during this period."
Petro-modernity is a local phenomenon essential to the history of Kuwait, while also a global experience and one of the prime sources of climate change. The book investigates petroleum’s role in the ...visual culture of Kuwait to understand the intersecting ideologies of modernization, political representation, and oil. The notion of iridescence, the ambiguous yet mesmerizing effect of a rainbowlike color play, serves as analytical-aesthetic concept to discuss petroleum’s ambiguous contribution to modernity: both promise of prosperity and destructive force of socio-cultural and ecological environments. Covering a broad spectrum of historical material from aerial and color photography, visual arts, postage stamps, and master plans to architecture and also contemporary art from the Gulf, it dismantles petro- modernity’s visual legacy.
The exhibition at Villa La Quiete focuses on three important Renaissance sculptures, which had never been exposed to the public before. On this occasion, the works were carefully restored, continuing ...on the path of the previous restauration of the Villa’s artistic heritage at the hands of the University of Florence; the new restoration was supported by the Terna group, whose liberal donation helped restore one of the works on display, namely the beautiful in stucco Madonna with Child from Lorenzo Ghiberti’s workshop. This work comes with a rare terracotta piece of a Madonna with Child, by one of Donatello’s followers, and a Christ, the Saviour, in painted terracotta as well, made by the artist Agnolo di Polo, who trained in Andrea Verrocchio’s workshop. The three sculptures are a part of the oldest core of the Villa's collections, and represent a relevant example of the refined production of the multifaceted workshops of the Renaissance in Florence.
