Search results - CEJSH

1

OPEN AIR MUSEUM (Muzeum pod Niebem)

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Golembnik A., Grubka M.

Muzealnictwo

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2006

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issue 47

62-68

EN

The dynamic growth of construction investments within the range of historical towns poses ever new challenges for archaeologists. Increasingly large investment areas and smaller demands made by the conservation offices compel researchers to apply simplified forms of investigations. This tendency has an adverse effect not only on the scientific merits of the performed work but also causes a decline of the social prestige for years enjoyed by archaeology. In numerous Polish towns archaeologists simply do not have sufficient time to conclude the results of excavation undertakings, not to mention their publication. Museum storerooms are bursting at the seams, while showrooms are empty. Consequently, the excavations carried out at the request of the Dominican monastery in Gdansk involved presenting the excavation site to the public and turning it into a tourist attraction. In 2000 the first rather timid attempt at displaying the investigations was the removal of a single span in the fencing surrounding the excavation site. A year later the whole site was opened to the public on Sundays. Visitors were also offered a book presenting the outcome of the first season. In the same year, a view platform was organised for the durationof the Dominican Fair; the platform also featured a museum exposition of the unearthed monuments. The visitors received an information booklet and the course of the work was explained by an archaeologist . The whole initiative proved to be a success - in a single fortnight about 3 000 visitors toured the excavation site. Encouraged by these results, the Dominicans and the archaeologists decided to develop this form of popularising archaeology. In 2002 the offer was expanded by publishing a popular scientific book on the history of Dominican property in Gdansk and bringing the reader closer to the research performed by the archaeologists. The archaeological exposition, together with the view platform, became known as the Open Air Museum, toured by about 10 000 visitors. Other ventures included history lessons organised for primary school pupils. The following season proved just as successful. The offer now included nighttime lectures of the so-called Open Air Academy, accompanied by screenings of multi-media presentations illustrating the history of the town and the results of the archeological digs. The conception of the Open Air Museum and excavations accessible to the public has already become a permanent item in the calendar of cultural events in Gdansk and is being emulated elsewhere.

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RENESANSOWE MALOWIDŁA ŚCIENNE NA ZAMKU W KRAJENCE

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Wujewski T.

Ochrona Zabytków

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2008

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issue 1

45-56

EN

The locality of Krajenka, 20 kms to the north-east of Pila (voivodeship of Greater Poland) is the site of an extant western wing of a castle erected in about 1542-1550 for Janusz Koscielecki, the 'starosta' general of Greater Poland. In 1774 the then owner, Princess Anna Sulkowska, had the building adapted for the purposes of a parish church, functioning up to this day. The solid of the wing was left intact, the ceiling and the partition walls were pulled down, and a wooden pseudo-ceiling was installed. Apart from the ceiling, no corrections were made, and only the window openings were walled up. Consequently, the former corner (south-eastern chamber on the highest storey of the castle preserved remnants of murals, discovered by the author of this article. The murals depict allegories of The Sense of Hearing, The Sense of Smell and The Sense of Touch, while the missing walls probably displayed allegories of The Sense of Taste and The Sense of Sight. The figural likenesses are framed by oval tondos amidst imitations of a garden treillage. The paintings are an almost literal copy of compositions by Franz Floris (1519-1570), popularized in etchings by the Antwerp-based printing house of Hieronymus Cock since 1561. Owing to the different shapes, the painter working in Krajenka introduced assorted changes in the background. The author of the article puts the date of the murals' origin in a period spanning from 1560 and 1580, although he does not exclude the possibility of a highly later date (albeit not exceeding the second half of the sixteenth century). He also refers to other, extremely scarce examples of Renaissance murals in Greater Poland in order to emphasize the rank of his discovery, regardless of the considerable damage incurred to the murals in Krajenka.

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GARDEN BY THE HOUSE. MODEL SOLUTIONS AT SILESIAN EXHIBITIONS IN THE NINETEENTH AND THE FIRST HALF OF THE TWENTIETH CENTURY (Ogród przy domu. Modelowe rozwiazania na wystawach slaskich w XIX w. i pierwszej polowie XX stulecia)

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Binkowska I.

Rocznik Historii Sztuki

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2009

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vol. 34

135-169

EN

The art of gardening became an exhibition theme very early, but it began to be treated as a subject only at specialised exhibitions; first such exhibition in Silesia was held in Wroclaw (Breslau) in 1845. The present article pays attention to the model garden or park around the house or residence. Initially, it was a scenic park that was promoted (Wroclaw exhibitions of 1869, 1872 and 1878). Soon the focus was on the reconstruction of its most representative, decorative and attractive parts: pleasure ground (flowerbeds, flower baskets, carpets and tubs, etc.), thematic gardens (exotic, mountain, one-species etc.), visible at the exhibitions in 1881, 1886 and 1892. Exotic compositions, originally in the form of winter gardens (the very first time in 1852), with the lapse of time were prepared in open space. The artistically richest and largest was a Japanese garden founded by Friedrich von Hochberg and laid out by Josef Anlauf in 1913. Previously, a similar exotic garden was made by F. Stämmler at Legnica (Liegnitz) in 1905. In consequence of historicism was an interest in old times gardens. Six gardens in a spirit of old ages, from the Middle Age to Empire were implemented by: Professor F. Rosen (whole plan, naturalist Th. Schube (historical plant cover), gardener F. Hanisch and architect Th. Effenberger. The project became a pretext for the discussion of the possibility to reconstruct a work of the old art of gardening. From 1904, the exhibitions became a place to look for a new type of a garden adjoining to the house that would replace a scenic park in its 'degenerate' form and fulfil the expectations of modern users. The search for alternative solutions was accompanied with an increasing influence of the British art of gardening (the Arts & Crafts movement) which led to a new attitude towards vegetable materials and to the creation of three new models of garden. The outstanding architect Hans Poelzig and gardener Paul Dannenberg proposed a country garden by a new type of a house (Landhaus). In 1913 gardens of Stanke and P. Hauber referred to the models of early modern gardens that balanced in their compositions usable and decorative parts. Towards architectonic gardens were inclined Peuckert, Reifegerster and Seidel - the authors of layouts in garden-towns Karlowice (Karlowitz) and Brochów (Brockau). A. Menzel was the only one who drew from the modern American art. These two latter tendencies dominated at interwar exhibitions (the GuGALi at Liegnitz in 1927 iand WuWa in Breslau in 1929) in the form of ascetic modernistic gardens designed by E. Vergin, P. Hatt, K. Schutze, J. Schutze and F. Hanisch. With time, there is a change to be seen in the organisation of exhibitions that began to be treated as the area of commercial, propaganda and political activities aimed at a mass consumer audience rather than a narrow social elite. Such was the purpose of the GuGALi organisers and its main designer G. Allinger.

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THE PIEBALGA ART MUSEUM AND FORTUNES OF ITS COLLECTION (Piebalgas makslas muzejs un ta kolekcijas liktenis)

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Kalnacs J.

Materiali Latvijas makslas vesturei

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2003

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vol. 3

128-135

EN

The area of Piebalga is noted by several undertakings significant for the history of Latvian culture and society since the 19th century. The Piebalga Art Museum collection was assembled by the Jaunpiebalga-born painter and art critic Jekabs Strazdins (1905-1958) in the late 1930s. This project was probably supported by the Jaunpiebalga and Vecpiebalga parishes, public and economic organizations, as well as by people of culture. Until 1999 this collection was thought to be lost in the events of the World War II. The collection was formed in a short period, probably mostly during the Nazi occupation that was noted by flourishing art market. Quite often it was possible to acquire good artworks in exchange for countryside foodstuffs. The collection included works of about 100 Latvian painters, graphic artists and sculptors, from the first professional artists to graduates of the Latvian Academy of Art in the 1930s. The Piebalga Art Museum was never actually opened but part of its collection was exhibited in temporary premises at Jaunpiebalga Peteris School during the war. The lack of interest in fortunes of this collection may be related to the fact that many artists suffered from Soviet persecutions or left for Western Europe or Scandinavia. After Strazdins' death in 1958 his collection was not kept up. In September 1999, looking for the lost collection of the Piebalga Art Museum, there was an inspection of an abandoned farmstead at Zoseni Parish where Strazdins' relatives had lived. Not only empty frames but also 6 paintings, 1 watercolour and 1 etching were found there. Most of these works were in a poor technical condition. Three more works that are possibly connected with the Piebalga Art Museum collection were discovered in the next two years. The first works, restored with the support of the Latvian Cultural Capital Foundation, were exhibited in autumn 2000 to become a kind of surprise for the local art society. These eleven works that form about ten percent of the total number of the Piebalga Art Museum collection allow to place it among the most prominent collections of Latvian art.

5

NOTES ON JACOB BER GIMPEL'S THEATRE IN LWÓW (LVOV) (Uwagi o teatrze Jakuba Bera Gimpla we Lwowie)

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Szydlowska M.

Pamiętnik Teatralny

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2010

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vol. 59

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issue 1-2(233-234)

62-81

EN

On May 11th 1889, a performance of Goldfaden's operetta 'Shulamith' in the 'Pod Sroka' Pub garden marked the birth of the first permanent Jewish theatre in Lwów and the whole of Poland. The essay discusses the circumstances of the company's emergence and the first years of its activity, along with the reactions it generated in the Jewish and Polish circles. The article presents Jacob Ber Gimpel's artistic career, with special emphasis on his many-year experience on the Polish stage and his efforts to gain the concession issued by the k.u.k. Governor's Office. The discussion of the first seasons of 1889-1889 and 1890-1891 includes the problems of the theatre's organisation, venues (in the 'Pod Sroka' hall and garden, and the permanent place of residence in the former Zygmunt Moser Bell Foundry building), as well as artistic matters of the repertoire, actors, acting style, stage setting and chorus participation. Thanks to Bertha Kalich's memoirs, which were previously unknown in Poland, and in confrontation with the opinions of publicist Ignacy Suesser and Polish journalists, it has been possible to describe the world of Jewish actors in Lwów and its prominent figures. To fully understand the importance of the 1890-1891 events, it is essential to view them in the historical context of lively and fierce disputes concerning the literature and theatre in Yiddish, the language favoured by uneducated masses but opposed by orthodox Jews and those who supported the idea of assimilation of Jews in Poland. Reactions of the Polish press to the fact that Gimpel advertised his enterprise as 'Polish-Jewish theatre' are also part of this context. In spite of numerous obstacles the theatre survived the first season thanks to the determination of its founder and popularity among the uneducated Jewish audiences that visited the theatre in great numbers reacting with enthusiasm to what was happening onstage and demanding plays that would be sentimental, simple and spectacular. In the following years, these demands caused a steady decline of the theatre's artistic level.

6

'Play This Game Again'. Cinema as One of the Elements of the Entertainment System

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Filiciak M.

Kwartalnik Filmowy

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2006

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issue 56

170-180

EN

The author shows the cinema against the backdrop of changes taking place in today's audiovisual landscape by means of digital media. A movie is not treated as a separate phenomenon but as an element of a bigger entertainment system. Individual audiovisual media take over each other's aesthetics to facilitate dialogue with the viewer who also uses other communication media. This is best illustrated on the example of the relationship between the cinema and video games that originally 'sponged off' the cinema to recently come to inspire them. He examines the film category of 'movie ride', the pictures using movement in a motion picture to produce a viewer's immersion (strongly associated with computer games) or even thematizing immersions. So the relations between old and new media are not discussed in terms of competition but of complementarity and creative tensions to enhance the means of expression of sub-elements of the communication ecosystem. As shown by the author, the cinema may be the starting point for the development of new cross-media narrative practices that meet halfway the expectations of viewers oriented towards the active reception of the media.

7

The Complex of Echidna. (The Visual Beast)

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Michera W.

Konteksty - Polska Sztuka Ludowa

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2006

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vol. 60

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issue 1(272)

47-67

EN

In the medieval commentaries on Genesis 3:1 and in the art of the 13th-17th century, the Edenic tempter is often visualized as having a maiden's face. The author argues that this feminization of the serpent means that the sin is defined as a 'representation'. In Part I, the author examines the late ancient discourse on the evil. Plotin, who identifies the evil with the matter as the non-being - intelligible only in the 'bastard' way (gr. notho) - metaphorizes it as the 'femininity': he reminds the comparison of Aristote (Phys. 192a), and the Plato's figure of Poverty (Penia) (Conv. 203). The Plato's story is associated by Orygenes and Eusebius with the Genesis words. They identify Penia with the Edenic serpent, in such way defining Eva's status: her being is understood as 'lack', privatio, perceivable only by looking awry, thanks to the serpent which is the bastard cognitive instrument. In Part II, the author examines the formulations of medieval exegetes: 'similia similibus applaudunt and similitudo mater est falsitatis'. The sin as seduction means here: (1) the rhetoric language feminization (the corruption of the primar lingua humana by opening the ability for verbal deceit) and (2) deceptive similitude, which not relates (referre) to the truth of the prototype but closes the image in the mirror feedback. The whole contribution is closed by some observations about the medieval misogynism (a woman as senses and symptom of the man).

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A Fifteenth-Century Book of Hours Manuscript in the Princes Czartoryski Library in Cracow

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Łanuszka M.

Modus. Prace z historii sztuki

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2006

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vol. 7

83-98

EN

The Book of Hours kept in the Princes Czartoryski Library in Cracow as Ms. Czart. 3467 is a sumptuously illuminated manuscript dated to the early 15th century, purchased by Wladyslaw Czartoryski at the sale of the Ambroise Firmin-Didot library in Paris in 1884. Neither its origin nor its earlier history is known. The manuscript contains seven full-page miniatures with borders (68x62mm), 111 ornamented initials, and vignettes set into the text. The original text of the codex is comprised of the Officium Beatae Mariae, the seven Penitential Psalms, a litany of the Saints, Officium pro Defunctis, Officium Sanctae Crucis, and Officium Sancti Spiritus. The very choice of subject-matter for the miniatures illustrating particular parts of the Hours seems to point to some links with the Paris circle of illuminators; also the style of the painted decoration of the Cracow manuscript appears to be of Paris origin. Equally strong echoes of Paris illumination can be discerned in the non-figural ornamentation of the Czartoryski manuscript. A similar mise-en-page - a miniature in a thin triple frame from which issue small spiky shoots with jagged leaves - appeared in Paris book illumination in the first half of the 14th century; the pattern of a miniature whose frame surrounded the bas-de-page together with a few lines of the text, was popular for a very long time, being still used in the early 15th century. The character of the decoration of the manuscript and the content of the litany justify the hypothesis that the Book of Hours was executed, broadly speaking, in the northern and not southern part of France. The miniatures were painted by a master probably trained in the Paris circle, although the manuscript itself is not linked with the Paris diocese (the litany lacks the patrons of Paris, SS Genevieve and Denys). The other artist, closely cooperating with the author of the miniatures, painted the frames and borders The prayer book may have been commissioned by someone connected with the Franciscan Order, possibly from the region of either Strasbourg, Auxerre, Verdun or Orleans (which would be indicated by the saints invoked in the litany), and produced within the first quarter of the 15th century.

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THE OLD-TESTAMENT GENESIS OF RELATIONS BETWEEN THE CREATORS OF THE SIGISMUND CHAPEL: THE KING AND BERRECCI

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Zadrozny T.

Biuletyn Historii Sztuki

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2005

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vol. 67

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issue 1-2

9-57

EN

Drawing on the Bible and 15th-century examples of biblical exegesis, the author of this article seeks to explain the content of the inscription Bartholo Florentino Opifice carved in the dome of the lantern in the Wawel chapel dedicated to the Assumption as well as the causes behind the lofty placing of this inscription within the sphere symbolising empyreal heaven among choirs of angels. This inscription has been interpreted not only as an expression of social and cultural transformations, but also as an integral part of the entire building's ideological programme, inspired by the effects of neo-Platonic doctrines, thus permitting the artist to perceive his artistry and the fruits of his labour in an analogy to a divine work of creation. In previous discussion on the inscription's content, genesis and meaning, no consideration has been taken of the theological circumstances in which the Chapel was built. The voice of the speaker from heaven is a characteristic element from the Bible of direct revelation, and simultaneously a symbol of every other kind of revelation. These kinds of revelation were experienced by Moses and Solomon, the builders of two temporal forms of the House of God: the Tabernacle and the Temple of Jerusalem as two constructions of perfection. Inspired by the words contained in Exodus, the inscription carved in the Sigismund Chapel lantern, even though it records the name of Berrecci, nevertheless serves as an artistic and theological emphasis of the king's glory and virtues, his wisdom as well as his specific mission in creating worldly order.

10

'CONCIO ET CANTIO': THE COUNTERPOINT OF THEOLOGY AND MUSIC IN LUTHERAN PERCEPTIONS FROM PRAETORIUS TO BACH ('Concio et cantio': kontrapunkt teologii i muzyki w tradycji luteranskiej od Praetoriusa do Bacha)

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Leaver R. A.

Muzyka

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2007

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vol. 52

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issue 4(207)

5-26

EN

In modern studies of the theology and music theory of the seventeenth and eighteenth centuries, the tendency has been for theologians to ignore references to music and for musicologists to disregard theological statements. This paper seeks to illustrate, by way of representative examples, on the one hand, some of the theological concerns expressed by music theorists of the period, and on the other hand, to record some of the musical matters explored by theologians; at the same time the paper is also a call for further research.

11

THE HISTORY OF POLITICAL CARICATURE IN THE LATE 19TH AND EARLY 20TH CENTURY: AN INSIGHT (Ieskats politiskas karikaturas vesture. 19. gs. beigas - 20. gs. sakums)

100%

Gailite G.

Materiali Latvijas makslas vesturei

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2006

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vol. 5

64-76

EN

The discussed period is typified by the high point of caricature as the most topical genre of art because very different artists participated in decisive historical events of that time. The article gives an outline of the major themes, differing individual styles of artists, their means of expression, etc. The term 'caricature' is derived from Italian word caricare, meaning 'to heap', 'to exaggerate'. Its task is to unmask contradictions of social phenomena, relationships, human conduct and character in a peculiar manner. Caricature exaggerates and distorts external features, revealing the inner truth. The article deals with particular examples from periodicals because their quantity and quality significantly increased on the threshold of the 20th century. Thanks to the development of printing industry and spread of liberal ideas, political and satirical publications helped to change the public opinion. As periodicals reached wide audience and had deep influence, critical and satirical imagery served as a potent means of visual propaganda. Besides Latvian caricaturists, German and Russian artists are stressed as well because they had the most influence upon the local authors' formal and thematic choices. The most significant source was the German periodical 'Simplicissimus' - a promoter of democratic opinions and worldwide leader of political satire during the early years of publication (1896-1908/09). In 1897 it was printed in 15 000 copies but by 1904 - in 85 000. The major artists to be mentioned are Thomas Theodor Heine, Rudolf Wilke, Bruno Paul, Ferdinand von Reznicek, Erich Schilling and Olaf Gullbransson. By World War I 'Simplicissimus' held the oppositional stance but then gradually transformed into a conformist, nationalist and chauvinist voice of the official power. Russian government prohibited the import of 'Simplicissimus', still artists had access to it and influences are easy to detect.

12

ALBRECHT DUERER AND EASTERN EUROPE

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Smith J. C.

ARS

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2009

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vol. 42

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issue 1

5-22

EN

The article deals with Albrecht Duerer's relations to Eastern Europe - direct and indirect dealings of the Nuremberg based artist with artists and patrons from Poland and Prussia to Hungary and Romania. The essay is intended merely as an introduction to the topic and to some of the issues the subject raises, for example Nuremberg's international business ties, direct links to Eastern European patrons (e.g. Johannes Thurzo, bishop of Breslau), influence of Duerer's prints (e.g. on the Apocalyptic Virgin and Child Epitaph, c. 1520 (?), now in the Slovak National Gallery in Bratislava), activities of Nuremberg's artists in Eastern Europe (e.g. Veit Stoss in Krakow) or questions of the collectible Duerer (e.g. Feast of the Rose Garland obtained by the emperor Rudolf II in 1606).

13

'The Black Square' by Kasimir Malevich

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Sutryk M.

Konteksty - Polska Sztuka Ludowa

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2006

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vol. 60

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issue 2(273)

EN

The author attempts to define the role played by the form of the square in the suprematist painting by Kasimir Malevich. This was the form which in the artist's oeuvre acted as a point of departure and a goal, by designating the beginning or signalizing the end. Furthermore, the form in question encloses all the suprematist accomplishments of the painter. The article tries to decipher the form of the square as a unique boundary.

14

The Paeans of Delphi - Historical Context

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Bielawski K.

Konteksty - Polska Sztuka Ludowa

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2006

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vol. 60

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issue 2(273)

52-59

EN

The article is a fragment of author's book (Poetic Texts of Greek music fragments) that is being prepared for publishing. He places the paeans that were performed at the occasion of Delphic festivals, in the religious, social and political context. He also writes about the performers - the technitai - artists of Dionysios that were associated in the guilds.

15

ALWAYS FORWARD! EDUARDS KALNINS' CREATIVE DEVELOPMENT AND ROME SCHOLARSHIP (Vienmer tikai uz prieksu! Eduarda Kalnina veidosanas periods un Romas stipendija)

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Konstante I.

Makslas Vesture un Teorija

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2004

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vol. 3

29-39

EN

The article deals with the creative career of the famous Latvian painter Eduards Kalnins (1904-1988), focusing on the inter-war period and studies in Italy. Kalnins, born and grown up in Riga, could simply and elegantly speak with highly educated people and fishermen, peasants and simple vagrants. He had enough diplomatic wisdom to avoid repressions regardless of the state power. His human capacities, infallible sense of superior power and its entrapments, and keeping silent when necessary were obviously decisive. Kalnins' single hired position was closely connected with painting - it was instructor's work at the Latvian Academy of Art. In 1945 he became instructor at the Academy's Painting Department and all the rest of his life was involved in pedagogical work, training almost all students at the Easel Painting Studio in the 1950s -1970s. During the last eight years he was academician of the USSR Academy of Art, holding his master studio in Riga where several talented painters have perfected their skills. During the early period of his career his wide interests included almost all genres of painting - portrait, figure scenes, still lifes, landscapes, seascapes. Still he was first of all disciple of the Professor Vilhelms Purvitis' Landscape Painting Studio, and profound image of nature was an equivalent, characterising component of his figural paintings. Already at the Academy Kalnins was noted by his subtle grey colouring complemented with brighter accents. Alongside smooth paintings with some loosened spots, he used thick brushwork, a little nervous and imbalanced painting. In 1934 the so-called Rome Foundation Scholarship competition was established, activating the young generation of artists. Kalnins submitted the competition work 'Raftsmen' and gained a victory over 23 candidates. 'Raftsmen' concluded an entire epoch in his career. The national subject may have been derived from the elaborated Dutch traditions and corresponded to Latvian mentality and national patriotism of the late 1930s. In August 1935 Eduards Kalnins went for one year of studies to Italy.

16

AESTETICS OF VIBRATION AND WALTER BENJAMIN

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Zajac P.

Slovak Review. A Review of World Literature Research

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2007

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vol. 16

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issue 1

49-54

EN

The author of the study shows that Walter Benjamin can be considered, on the basis of the analysis of his key notion 'Jetztzeit', a significant theoretician of the aesthetics of the sublime. Thanks to the exposition of the moment of fear in the 20th century, it became a legitimate counterpart to the 'aesthetics of cruelty', the Avant-Gardes lead into. Even though Benjamin never defined the aesthetic programme of the sublime explicitly his essay 'The Work of Art in the Age of Mechanical Reproduction' as well as the correspondence with Adorno from the end of the 1930s bring evidence about his specific paradoxical perception of the sublime as a fear of its lost. The experience with several forms of mechanically reproduced fine art in the 20th century at the same time shows, that it is not necessarily to be reserved the utopian moment of uniqueness, suspended in Benjamin's notion of aura, merely for the so-called auratic art insomuch that it can also be present in the forms of mechanical reproduction of art.

17

ILUKSTE CATHOLIC CHURCH AND THE DUCHY OF COURLAND AND SEMIGALLIA: THE CONTEXT OF POLITICAL HISTORY (Ilukstes katolu baznica Kurzemes-Zemgales hercogistes politiskas vestures konteksta)

100%

Ogle K.

Materiali Latvijas makslas vesturei

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2006

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vol. 5

24-38

EN

In order to know and understand a particular work of art, it seems important not just to study close-ups but also to consider the monument in a wider context of cultural history. Especially in cases when visual information is restricted for a number of reasons, groups of secondary sources whose links with the concrete artwork seem provisional at first can provide invaluable references and explanations. IIukste Catholic Church is an excellent example of an unfairly forgotten, outstanding artistic monument that deserves to be brought to attention, standing out with its great significance in both local and global art-historical context. The building was destroyed during World War I; therefore the role of different sources, including those of political history, are very helpful in the study of this monument. Research has demonstrated that events of political and cultural life have been very closely intertwined in the history of this monument, both determining and commenting various processes. Firstly, one should note that appearance of a Roman Catholic centre of such a scale in the Duchy of Courland and Semigallia is a noteworthy event, resulting from political decisions. As is known, at first the Duchy of Courland was markedly Protestant in its orientation and the rights of Catholics and options to practice their rites were severely restricted. Significant changes were brought in legislation by the Courland regulations of 1617 that defended Catholics' freedom of faith. Although legalisation of Catholicism in Courland was a political decision and the Polish government had a major role in the process of re-catholisation, local landlords' initiatives were very important, supporting Catholic faith with their money and activities. Among these families one should mention the Schwerin family in Alsunga, the Carmel family in Skaistkalne and the Lieven family in Livberze. Usually Jesuit missionaries were involved as an auxiliary force in these efforts. The Sieberg family should be mentioned among the most important supporters of counterreformation in the Duchy of Courland and Semigallia.

18

An Old Female Artist Paints

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Sosnowska J.

Konteksty - Polska Sztuka Ludowa

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2007

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vol. 61

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issue 1(276)

112-120

EN

Only recently has old age become the object of reflections pursued in assorted domains of science. 'Pózna twórczosc wielkich artystów' (The Late Works of Great Artists), a book by Mieczyslaw Wallis published more than thirty years ago and devoted predominantly to aged artists - albeit not exclusively, since the very term 'late works' does not have to denote creativity dating from an artist's old age, makes no mention of female artists.For centuries women tended to die earlier than men, but this was not the essential reason for the omission. The explanation should be sought in the category of womanhood obligatory in our culture. Only a woman capable of fulfilling maternal functions was regarded as noteworthy. An old woman who had already completed all her duties towards the family and society, became a matron and was accepted only in this guise. Apparently, the combined status of a matron and an artist was excluded. Those two social constructions could not be mixed, and female artists were refused the right to have a family; for all practical purposes old female artists did not exist. Nevertheless, there always remained the sort of a woman who violated the imposed rules of conduct, and frequently she was an artist. Already in her youth Olga Boznanska rejected the demands of the patriarchal world and did not accept the functions deemed fitting for a woman by totally devoting herself to art. By refuting all subjugation to conventions, in time she drew attention to something which usually remains invisible, i.e. otherness attained by age itself. As an older woman she fascinated the visitors who appeared in her rather unkempt studio. Physical relations, understood as contact with objects and people, remained extremely important due to the very fact that she was a painter, and with age they grew even more intense. She needed them in the same manner as the one described by Proust, succumbing to the tide of life delineated by old age.

19

A HANDFUL OF INFORMATION ABOUT JÓZEF KOFFLER AND HIS FAMILY FROM THE REGISTERS OF THE JEWISH COMMUNITY IN STRYJ

100%

Golab M.

Muzyka

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2007

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vol. 52

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issue 2(205)

61-73

EN

The article reports the results of an archival search in the 'Archiwum Glówne Akt Dawnych' (The Central Archive od Historical Records) in Warsaw. The source was: 'Ksiegi metrykalne wyznania mojzeszowego z terenów tzw. zabuzanskich z lat 1814-1939 (Registers of Jewish Faith from the Area beyond the Bug, 1814-1939) (Set No 300/I-II: documents Nos: 374 (ref. 1891), 124 (ref. 2200), 58 (ref. 2205) and 282 (ref. 2341)). The documents chiefly concern records of the Jewish Community of Stryj (now in Ukraine) relating to the family of the prominent Polish composer of the interwar period - Józef Koffler (1896-1944). These records include: the birth certificate of Józef Koffler; the birth certificate of the composer's sister, Gitel Reizel; the marriage certificate of the composer's parents, Hersch Koffler and Rebeka Schönfeld; and the birth certificate of his brother Schulim. The author also analyses records entered in later years in the registers of the Jewish community, especially those concerning: a declaration relating to the adoption of the children of Józef and Gitel Reizel born out of wedlock, the change of name from 'Gitel Reizel' to 'Gizela', and a declaration relating to Józef Koffler leaving the Jewish community. The search brings new information about the composer's family, and makes it possible to correct a number of errors relating to this subject.

20

CALLIGRAPHIC INSCRIPTIONS IN THE SEHZADE, SÜLEYMANIYE AND SELIMIYE MOSQUE

100%

Zübeyde C. Ö.

Rocznik Orientalistyczny

|

2008

|

vol. 61

|

issue 2

103-116

EN

The mosques are very similar to art galleries due to the architectural and decorative properties. The calligraphy art was profound and applied on specific spots following specific rules. The calligraphy at the mosques of Sinan the Architect was written by the famous calligraphists of the time, Ahmet Karahisari, Hasan Celebi, Demircikulu Yusuf and Hasan Üsküdari. In this article, the calligraphy in the mosques of Istanbul Sehzade (1544-1548), Süleymaniye (1550-1557) and Edirne Selimiye (1569-1575) is researched to reveal the arrangement of calligraphy art in Sinan's mosques. The writings, almost resembling jewelry, in the mosques of Sinan complement the architecture. We wish that these writings will be preserved for the future generations.

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