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CATALOGUES OF ENGRAVINGS – ITALIAN ONES FROM THE NATIONAL MUSEUM IN WROCŁAW AND FRENCH ONES FROM THE NATIONAL MUSEUM IN SZCZECIN

100%

Guze J.

Muzealnictwo

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2018

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vol. 59

93-97

EN

At the turn of 2017 and 2018, with the date 2017 printed in the colophon, two catalogues of engravings’ collections were published: old Italian prints from the collection of the National Museum in Wrocław, and French prints from the National Museum in Szczecin. The collection of Wrocław contains groups of artworks by the best Italian engravers from the Renaissance to the 18th century, and a small representation of the 19th century. An introduction to the catalogue gives the history, the scope and the contents of the collection as well as the brief history of the engraving art on the Apennine Peninsula. The catalogue itself is glossed, giving references to the latest research, preceded by biographical notes of encyclopaedic character. This well illustrated and thoroughly edited catalogue, organised in a user-friendly alphabetical order, is a compendium useful not only for art historians. The catalogue published by the National Museum in Szczecin has the same title as the exhibition of French engravings from its collection. It is a combination of both the exhibition and the collection catalogue. Hence its specific layout corresponding rather with the narration of an exhibition than a catalogue’s criteria. Both the encyclopaedic profiles of artists and the following glosses are accompanied by selected bibliography; its full version together with extensive academic references can be found at the end of the volume. The collection of over 600 prints has been divided not in alphabetical or chronological order but in accordance with an academic hierarchy of subjects. Engravings for art reproduction purposes prevail in Szczecin collection although original works of famous artists are also included. The publication of both catalogues allows us to learn more about the engravings in Polish public collections, i.e. the ones of national museum in Szczecin and Wrocław. It also gives the history of Polish collections after 1945, affected by the previous losses of the World War II. Undoubtedly, the sign of the times and the presence of Poland in the united Europe is the publication of the Italian engravings’ collection from Wrocław, which was kept before in the Academy of Arts in Berlin. Great care has been taken to prepare both catalogues in terms of their typography, although the illustrations in the French engravings’ catalogue would be of more benefit if were somewhat larger.

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Aspekty badawcze tłoków pieczętnych z sekularyzowanych klasztorów śląskich w zbiorach Muzeum Narodowego we Wrocławiu

86%

Marcisz-Czapla B.

Śląski Kwartalnik Historyczny Sobótka

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2018

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vol. 73

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issue 2

5-30

EN

The article discusses the issue of research on seal matrices which, following secularisation, were transferred to museum collections. In particular, analysis is undertaken of the seal image and inscription. The guiding idea behind the considerations undertaken here is to draw attention to the multifaceted benefits derived from research on monasterial seal matrices and their underappreciated value as source material for not only church sigillography but also for study of the history of Silesian monasteries.

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MARIUSZ HERMANSDORFER (1940–2018)

72%

Ratajczak M.

Muzealnictwo

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2018

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vol. 59

219-222

EN

Mariusz Hermansdorfer (1940–2018) passed away in Wrocław on the 18th of August this year. He was a director of the National Museum in Wrocław in the years 1983–2013, custodian of the contemporary art department of this museum from 1972, critic, curator of exhibitions, one of the most significant figures in Polish Culture of the past half-century. Born in Lviv, he studied art history at the University of Wrocław. While still at university, he started working for the Silesian Museum (since 1970 named the National Museum). In 1967, he moved to the branch of the Municipal Museum of Wrocław – the Museum of Current Art, which at the time was getting ready for its opening. There he worked together with Jerzy Ludwiński, one of their achievements being the memorable Fine Arts Symposium Wrocław ’70, and was engaged in the activity of the Mona Lisa Gallery run by Ludwiński. He returned to the National Museum in 1972, and became a custodian of the contemporary art department up to his retirement in 2013. There he created, starting practically from scratch, one of the best collections of Polish contemporary art in the country, abundant in works of such artists as Magdalena Abakanowicz, Tadeusz Brzozowski, Edward Dwurnik, Józef Gielniak, Władysław Hasior, Józef Hałas, Maria Jarema, Jerzy Kalina, Tadeusz Kantor, Jan Lebenstein, Natalia LL, Jerzy Nowosielski, Jerzy Rosołowicz, Jonasz Stern, Jan Tarasin and many others. The predominant artists of this collection were those of metaphor and expression. From the mid-1970s he was a curator of Polish presentations at international art festivals – in Cagnessur- Mer, São Paulo and New Delhi. He used to organise exhibitions from museum collections in Germany, Great Britain, the United States and the Netherlands. As an art critic he was writing mainly for the monthly “Odra”; in 1990 he became a member of its Editorial Board. The writings of Mariusz Hermansdorfer can also be found in catalogues and scholarly publications of the National Museum in Wrocław.

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2 Muzealnictwo

1 Śląski Kwartalnik Historyczny Sobótka

1 Guze J.

1 Marcisz-Czapla B.

1 Ratajczak M.

3 2018

CATALOGUES OF ENGRAVINGS – ITALIAN ONES FROM THE NATIONAL MUSEUM IN WROCŁAW AND FRENCH ONES FROM THE NATIONAL MUSEUM IN SZCZECIN

Aspekty badawcze tłoków pieczętnych z sekularyzowanych klasztorów śląskich w zbiorach Muzeum Narodowego we Wrocławiu

MARIUSZ HERMANSDORFER (1940–2018)