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1

ALBUM FANTÁZIÍ S GUIDOM RENIM

100%
Novosad M.
ARS
|
2022
|
vol. 55
|
issue 1
59 - 75
EN
The present study is a half-shortened version of the Album, perhaps sufficient to outline the problem and reasoning. It forms a chapter in the dissertation, the topic of which is German painting ’80 and ’90 years (predecessors, opposition, followers). Unfortunately, or fortunately, it was necessary for such an extensive treatment of the emergence of meaning from the movement of the view of the image, precisely in relation to the transgressive principles of networking images outside themselves. I noticed how the look and the story were connected. The movement of the eye along the image does not have to be in a single line, but can only subsequently form a single line with a jump; this leap sometimes becomes a topic in itself. The text aimed to present a foreword to today’s network paintings (originating from the Cologne area of the eighties and nineties), which also worked in large scale with the text, context and painting principles. It may be too distant a relationship at first glance, but on the contrary: thanks to Reni, a continuous line is being created to Titian and from Reni to Kandinsky. The predecessor and distant follower worked as I will show below with the movement of the eye around the image.
2

Cultural Texts: Polish and Russian Albums in the Age of Romanticism

63%
Beinek J.
Rocznik Antropologii Historii
|
2011
|
issue 1-2
173-192
EN
This article examines albums from the Romantic period – scrapbooks containing captions autographs, drawings, and personal memorabilia – both as artefacts, and as polysemic, heterogeneous “texts” of early nineteenth-century Russian and Polish culture. Albums flourished in the age of Romanticism because of their location in the nexus of literature and fine arts, social life and domesticity, high and low culture. Flexible and open-ended, albums facilitated discourse about memory, national identity, and authorship. The history of the album shows it to have originated in ancient Rome, where it was called the album amicorum, and it was introduced into Slavic culture via the German Stammbuch as early as the sixteenth century. After an introductory presentation of the album as a cultural object, the article focuses on the album’s textual structure: form, multifarious content, and the internal languages that govern its arrangement and decoding. Thus the album is a cultural text in two senses: it is a collection that encapsulates philosophical, sociopolitical, and the aesthetic concerns of Romanticism, but it is also a physical verbal/pictorial text that also frequently approximates a literary work, a book, or an art object.
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