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Prasowa działalność wydawnicza krakowskiego Towarzystwa Gospodarczo-Rolniczego w latach 1850–1862

100%
Przybytek P.
Zeszyty Prasoznawcze
|
2013
|
vol. 56
|
issue 3
401-425
EN
The first part of the article ”Press Publishing Activities of Cracow Economic and Agricultural Society in the years 1850–1862” presents the Society’s attempts to establish its press organ in Cracow’s newspaper market for a longer time. Appendix to the “Time” Dedicated to Industry, Agriculture, and Farming Technology (1850), independent semi-annual Annual of the Imperial-Royal Cracow Economic and Agricultural Society (1851–1853), and Agro-Industrial Weekly (1854–1862) were established. Journalistic genres and columns characteristic of these three periodicals were discussed in the article. Also presented was the unrealized plan of the Society: to publish a magazine „for the people”. During these several years, the Society did not lack determination and flexibility in their attempts to publish their own magazine.
2
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Późnogotycki obraz tablicowy w typie Madonny Apokaliptycznej z klasztoru Bernardynów w Alwerni. Technika i technologia wykonania

80%
Zarębski B.
Ochrona Zabytków
|
2021
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issue 1
105-130
PL
Późnogotycki obraz tablicowy z przedstawieniem Madonny Apokaliptycznej z Alwerni cechuje wyjątkowo ciekawa historia, a także dość oryginalna technika i technologia wykonania. Jak wynika z archiwaliów, obraz ten został namalowany przed 1491 rokiem przez malarza zakonnego Franciszka z Węgier do ołtarza głównego kościoła Bernardynów w Krakowie, a w XVII wieku przeniesiono go do świeżo ufundowanego klasztoru tego samego zakonu w Alwerni. Analiza techniki i technologii jego wykonania prowadzi do wniosku, że nie są one charakterystyczne dla regionu Małopolski. Z tego powodu – a także ponieważ twórca dzieła pochodził najprawdopodobniej ze Spisza i nie należał do żadnego z krakowskich cechów – wydaje się, że obraz powinien być pod wspomnianymi względami bliższy dziełom spiskim. Jednak zestawienie metod pracy Franciszka z obiektami powstałymi na Spiszu również nie ujawnia wielu wspólnych cech. Wyjątek stanowi w pewnym zakresie ołtarz ze Strażek, datowany na lata 50. bądź 60. XV wieku, na którym ornamenty z szat postaci pod względem formalnym i technicznym przypominają znacząco analogiczne elementy obrazu z Alwerni. Podobieństwa są na tyle duże, że można wnioskować, iż Franciszek był twórcą niektórych partii spiskiego ołtarza. Ponieważ omawiane dzieła powstały w odstępie 20-30 lat, interesujący nas malarz był zapewne jeszcze czeladnikiem w okresie wykonywania pracy przy ołtarzu ze Strażek. Osobną kwestię stanowi podobrazie, na którym wykonany został obraz z Alwerni. Powstało ono najprawdopodobniej w samodzielnie funkcjonującej pracowni stolarskiej w Małopolsce i wykazuje dużo podobieństw do innych tego typu obiektów z regionu.
EN
The late Gothic panel painting with a representation of the Apocalyptic Madonna from Alwernia is characterised by an exceptionally interesting history as well as quite original technique and technology of creation. According to the archival materials, the picture was painted before 1491 by a monastic painter, Francis of Hungary, for the main altar of the Bernardine church in Krakow, and in the 17th century it was moved to the newly founded monastery of the same order in the town of Alwernia. Analysis of the technique and technology of its creation leads to the conclusion that they are not typical for the Małopolska region (Lesser Poland). For this reason – and also because the artist was most probably from Spiš region, and did not belong to any of the Krakow guilds – it seems that in the mentioned respects the painting should be closer to works from Spiš region. However, the juxtaposition of Francis’ working methods with the objects created in Spiš does not reveal many common features either. To some extent, the exception is the Strážky altarpiece, dated back to the 1550s or 1560s on which the ornaments from the robes of figures resemble formally and technically similar elements of the Alwernia painting. The similarities are so great that we can conclude that Francis was the creator of some parts of the Spiš altarpiece. Since the works in question were created 20-30 years apart from each other, the painter in question was probably still an apprentice, at the time when he was working on the Strážky altarpiece. The painting support on which the Alwernia picture was created is a separate issue. It was probably made at an independent carpenter’s workshop in the Małopolska region and shows many similarities to other artefacts of this type from the region.
3
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Ze Szwecji do Polski. Dary Henryka Bukowskiego w bibliotekach krakowskich

71%
Lemanaitė G.
Z Badań nad Książką i Księgozbiorami Historycznymi
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2018
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vol. 12
167-190
EN
One of the participants of the 1863 uprising, Henryk Bukowski, who later emigrated and settled down in Sweden, was well-known not only to the Polish expatriate community as a great antiquarian. H. Bukowski is also famous for his great work for the foundation, patronizing and donating the Polish National Museum in Rapperswil, which was not his sole activity. Being a great bibliophile, on every possible occasion he presented many valuable books to different libraries and other institutions in exile and in the country as well. It is known that in the years 1887-1890 The Academy of Science in Cracow received a collection of approximately six hundred books, accompanied by a catalogue prepared by Bukowski himself. It is worth mentioning that the Jagiellonian Library was given several dozen books, important for the Polish culture, and several hundred brochures. Also, the National Museum in Cracow has a big collection of artefacts given by the collector from Sweden. None of those collections have been explored before. The article is based on the correspondence between Bukowski and the directors of all three institutions in Cracow donated by the Swedish antiquarian .
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