Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Pankiewicz o malarstwie niderlandzkim XV wieku

100%
Szczepińska-Tramer J.
Biuletyn Historii Sztuki
|
2008
|
vol. 70
|
issue 3-4
435-444
EN
This article discusses Józef Pankiewicz’s views on Netherlandish painting expressed in his articles published in June 1904 in the Polish-language Paris monthly journal Sztuka – Wczesne malarstwo niderlandzkie na wystawie 1902 roku w Bruges [Early-Netherlandish Painting at the 1902 Exhibition in Bruges].
2
Content available remote

Brandel i sztuka europejska jego epoki

100%
Szczepińska-Tramer J.
Biuletyn Historii Sztuki
|
2010
|
vol. 72
|
issue 4
403-426
EN
This article contains a series of new proposals as well as corrections that its authoress, occupying herself for a period of over forty years with the art of this Polish painter and graphic artist (1880-1970) who lived in Paris on a permanent basis from 1903 onwards, wishes to contribute to the current state of research into this artist. The first part of this article comprises a critical assessment of the most recent proposals for dating graphic works by Brandel together with the handwritten catalogues compiled by the artist himself. The second part of the article comprises a discussion on the place Konstanty Brandel’s creative work occupies among the main currents in European art during the period he was active. Here, specific attention is given to the painting and graphic art of German Expressionism, this being an area of Brandel’s artistry thus far ignored by specialists which the authoress wishes to point out while postulating the necessity of detailed research in the future.
3
Publication available in full text mode
Content available

Józefa Pankiewicza Portret Feliksa Jasieńskiego przy fortepianie. Reprodukcje i spojrzenia.

100%
Szczepińska-Tramer J.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
|
2012
|
issue 3(25)
19-32
EN
Feliks Jasieński’s face reflected in a shining piano lid in Józef Pankiewicz’s Portrait of Feliks Jasieński at the piano (1908, Cracow, National Museum) – who is it looking at? In the original, in a reproduction, in various reproductions from many periods? Is the girl’s head in Johannes Vermeer A Lady at the Virginal a Gentelman ( The Music Lesson) (ca. 1662–1664, Royal Collection. Her Majesty Queen Elisabeth II) turning aside towards the accompanying her man? In a reproduction? Or in the original? And if a reproduction shows something else or even more than what we see in the painting? What is a mechanic reproduction’s role in the game between a viewer, an artist, a scene depicted in a painting and its mirror reflection? What is a reproduction’s life, its autonomous and independent from the original existence, and what is the possibility of its reverse reaction to an image, to ‘an image’s image’, which, with its aim, will spread throughout the world of common reception and the world of professional analyses? What is the status of uncertainty in present art studies? Following the widely recognised experts (Walter Benjamin, Rosalind Krauss, Mieke Bal, Victor Stoichita) the article’s author makes an attempt to answer all these questions.
4
Content available remote

Józefa Pankiewicza epizod z lustrami

100%
Szczepińska-Tramer J.
Biuletyn Historii Sztuki
|
2008
|
vol. 70
|
issue 3-4
445-462
EN
This article deals with the motif of mirror in Józef Pankiewicz’s art. The Author’s attention is focused on five ‘pictures with a mirror’, created between 1902-1911, providing a simply marvellous testimony of the decisive transformation in the painterly vision of the world which ensued in the artist’s creative work. In her analysis the Author adopts two main lines of thought. The first of these follows the painterly necessities, from the tradition of Portrait of the Arnolfinis, by the way of the theme of Narcissus, to Bonnard mirror images. The second interpretative course follows problems taken up by the artist ranging dorm the double – or split – image of reality created out of the reflection in the mirror as far as the simultaneous to this ‘transmitting of the glance’, concentrated on the exceptionally famous triangle of mutual relations between the artist, model and viewer, which arise out of friction between them over the reflection.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.