Search results

1

Polityczność wpisana w uwodzenie prasamiczością. Artystyczne studium kobiet w ujęciu wybranych dzieł Jerzego Dudy-Gracza i Franciszka Starowieyskiego

100%

Rak J.

Historia i Polityka

|

2011

|

vol. 6(13)

205-231

EN

This paper contains remarks on artistic works of two modern Polish artists: Jerzy Duda-Gracz and Franciszek Starowieyski. The Author has defined the term „prasamiczość” and described its political context using examples from works of two artists being the main subject of his analysis. In his opinion artistic view of women, sometimes surrealistic or grotesque, may be a kind of reference to Polish political reality

2

Chopin: Visual Contexts

75%

Szerszenowicz J.

Interdisciplinary Studies in Musicology

|

2010

|

issue 9

297-316

PL

The drawings, portraits and effigies of Chopin that were produced during his lifetime later became the basis for artists’ fantasies on the subject of his work. Just after the composer’s death, Teofil Kwiatkowski began to paint Bal w Hotel Lambert w Paryżu [Ball at the Hotel Lambert in Paris], symbolising the unfulfilled hopes of the Polish Great Emigration that Chopin would join the mission to raise the spirit of the nation. Henryk Siemiradzki recalled the young musician’s visit to the Radziwiłł Palace in Poznań. The composer’s likeness appeared in symbolic representations of a psychological, ethnological and historical character. Traditional roots are referred to in the paintings of Feliks Wygrzywalski, Mazurek - grający Chopin [Mazurka - Chopin at the piano], with a couple of dancers in folk costume, and Stanisław Zawadzki, depicting the composer with a roll of paper in his hand against the background of a forest, into the wall of which silhouettes of country children are merged, personifying folk music. Pictorial tales about music were also popularised by postcards. On one anonymous postcard, a ghost hovers over the playing musician, and the title Marsz żałobny Szopena [Chopin’s funeral march] suggests the connection with real apparitions that the composer occasional had when performing that work. In the visualisation of music, artists were often assisted by poets, who suggested associations and symbols. Correlations of content and style can be discerned, for example, between Władysław Podkowinski’s painting Marsz żałobny Szopena and Kornel Ujejski’s earlier poem Marsz pogrzebowy [Funeral march]. The testimony of people who visited the Cracow apartment of Stanisław Przybyszewski suggests crucial links between Wojciech Weiss’s lost painting Chopin that hung there and the host’s aesthetic writings and legendary sessions of nocturnal improvisations. Against the background of that iconography, Jerzy Duda-Gracz’s idea of painting all Chopin’s works, subsequently brought together in the cycle Chopinowi Duda-Gracz [From Duda-Gracz for Chopin], is quite exceptional, in terms of its genesis, the extent of Chopin’s oeuvre and also the way in which music is transformed into painting. The artist attempted to capture the atmosphere of Polish landscapes visited by the composer, linking them to particular works. The Chopin cycle possesses a clear stylistic and symbolic identity, although it is impossible to establish a universal pattern for translating music into visual art. Although Zbigniew Rybczyński employed a camera and advanced cinematographic techniques, his depiction of Chopin’s Marche funebre from the Sonata in B flat minor (in his suite of films The Orchestra) refers to Romantic-symbolic interpretations and to previous pictorial visualisations. The director dresses his actors in historical costumes and places them in front of the Paris Opera. To the rhythm of Chopin’s music, they play out - using theatrical expression typical of silent film, pantomime, ballet and tableaux vivants - a story of maturing and ageing.

3

Kapliczki przydrożne z Nadrzecza. Studium historyczno-społeczne

62%

Garbacz K.

Ochrona Zabytków

|

2018

|

issue 1

99-125

PL

Nadrzecze – nieduża wieś położona w powiecie biłgorajskim – zainteresowało autora artykułu za sprawą fotografii z czasów II wojny światowej, przechowywanych w jego rodzinnym archiwum, a przedstawiających proces zbierania, suszenia i transportu ziół z suszarni w Nadrzeczu i Rapach Dylańskich do hurtowni „Społem” w Biłgoraju. Wśród tych zdjęć jedno przedstawiało starą drewnianą kapliczkę kłodową. Jego autorem, a także wielu innych zdjęć przedstawiających nieistniejący już pejzaż drewnianej wsi Nadrzecze, był poznański przyrodnik Stefan Alwin. Odkrywając historię tej i kolejnych nadrzeczańskich kapliczek, autor opisuje dramatyczne okoliczności ich budowy i urządzania w trakcie zaborów oraz późniejsze zabiegi o ich przetrwanie. Los kapliczek kłodowych splótł się z losem powojennych osiedleńców wsi Nadrzecze, wśród których w latach 90. XX w. znaleźli się aktorzy warszawskiego Teatru Polskiego i założyciele Fundacji „Kresy 2000”, Alicja i Stefan Szmidtowie. To za ich sprawą zabytkowe kapliczki kłodowe zostały uratowane przed zniszczeniem, a jedna z nich znalazła schronienie w nowo wybudowanej kaplicy, w której też znalazły miejsce obrazy Jerzego Dudy-Gracza z cyklu przedstawiającego Drogę Krzyżową.

EN

Nadrzecze – a small village located in the Biłgoraj district – has attracted the interest of the author of the article through a series of WWII-era photographs from his family archive, depicting the process of harvesting and drying of herbs and the transportation thereof from the drying plants in Nadrzecze and Rapy Dylańskie to the “Społem” wholesale outlet in Biłgoraj. One of these pictures showed an old shrine made of a hollowed-out wooden log. The author of this picture – as well as of many others portraying the landscape of the wooden village of Nadrzecze from the past – was Stefan Alwin, a naturalist from Poznań. In exploring the history of this and many other wayside shrines of Nadrzecze, the author describes the dramatic circumstances surrounding their construction during the period of the Partitions of Poland as well as the subsequent efforts to ensure their survival. Their fate became intertwined with that of the post-war settlers who came to live in Nadrzecze, among whom were Alicja and Stefan Szmidt, the actors from the Polish Theatre in Warsaw and the founders of the “Borderlands 2000” Foundation. It is due to their efforts that the old log shrines have been saved from oblivion, with one of them being relocated to a newly-built chapel, standing today among a cycle of paintings by Jerzy Duda-Gracz depicting the Way of the Cross.

Refine search results

1 Historia i Polityka

1 Interdisciplinary Studies in Musicology

1 Ochrona Zabytków

1 Garbacz K.

1 Rak J.

1 Szerszenowicz J.

1 2018

1 2011

1 2010

Polityczność wpisana w uwodzenie prasamiczością. Artystyczne studium kobiet w ujęciu wybranych dzieł Jerzego Dudy-Gracza i Franciszka Starowieyskiego

Chopin: Visual Contexts

Kapliczki przydrożne z Nadrzecza. Studium historyczno-społeczne