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  1. 5 Artium Quaestiones

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What isn´t orthodox horizontal art history

100%
Radomska M.
Umění (Art)
|
2021
|
vol. 69
|
issue 2
184-187
EN
Horizontal art history, a concept developed by Piotr Piotrowski in a study published over a decade ago in Umění and the subject of numerous polemics, involves a method that is far from orthodox. As elaborated in Piotrowski’s last book (still unpublished in English) into what he calls alterglobalist art history, the concept emerges as having Marxism as its essential but always inconsistent background. Although in my text, focused on the polemics with Matthew Rampley, but also — with Piotr Piotrowski, I refer to his last book, the current study has a restricted focus as regards the overall reception of horizontal art history and its aftermath. This is partially due to the character of the present text, written as a response to the text by Rampley, and partially because I discuss the whole complicated complicated problem subject extensively elsewhere: both in the afterword to the book by Piotrowski and in my text discussing limitations of horizontal art history which is about to be published in the book on horizontal art history by Routledge. Therefore, by quoting the famous essay by György Lukács What is Orthodox Marxism, I attempt to frame both the concept of horizontal art history and the critical standpoint of Rampley with Marxism, that affirms unorthodoxy of Piotrowski’s method.
CS
Koncept horizontálních dějin umění, který Piotr Piotrowski rozvinul ve studii publikované v časopise Umění před více než deseti lety a který se stal předmětem mnoha polemik, zahrnuje neortodoxní metodu. Piotrowski ve své poslední knize (v angličtině dosud nevydané) koncept rozpracoval do tzv. alterglobalistických dějin umění. Marxismus v ní vynikl jako nezbytné, ale zároveň vždy rozporuplné zázemí. I když ve studii zaměřené na polemiku s Matthewem Rampleym, ale také s Piotrem Piotrowským, odkazuji na jeho poslední knihu, zabývám se celkovou recepcí horizontálních dějin umění a jejich dopadem jen v omezené míře. Důvodem je částečně charakter článku, který vznikl jako reakce na Rampleyho text, a částečně fakt, že se tomuto komplikovanému tématu obšírně věnuji jinde — v doslovu k Piotrowského knize a v pojednání o limitech horizontálních dějin umění v publikaci věnované horizontálním dějinám umění, již připravuje nakladatelství Routledge. Citací slavného eseje Györgye Lukácse Co je ortodoxní marxismus? se proto pokouším vytvořit rámec jak pro koncept horizontálních dějin umění, tak pro Rampleyho kritické stanovisko k marxismu, který potvrzuje neortodoxnost Piotrowského metody.
2
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The Idea of a Universal Bildwissenschaft

80%
Gaiger J.
Estetika: The Central European Journal of Aesthetics
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2014
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vol. 51
|
issue 2
208-230
EN
The emergence of Bildwissenschaft (image science) as a new interdisciplinary formation that is intended to encompass all images calls for an analysis of the grounds on which the claim to universality can be upheld. I argue that whereas the lifting of scope restrictions imposes only a weak universality requirement, the identification of features that belong to the entire class of entities that are categorized as images imposes a strong universality requirement. Reflection on this issue brings into focus the distinctive character of Bildwissenschaft and the features that distinguish it not only from other related disciplines such as art history and visual studies, but also from recent work in the philosophy of the image.
3

Introductory: Gombrich's Struggle Against Metaphysics

80%
Bakoš J.
Human Affairs
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2009
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vol. 19
|
issue 3
239-250
EN
The paper deals with E. H. Gombrich's lifelong polemics against metaphysics in art history and the humanities. They began in 1937 and continued up until his final (posthumous) book The Preference for the Primitives. Analyzing the "fallacies" and "pitfalls" resulting from metaphysical collectivism, essentialism, expressionism, holism and relativism such as a "belief in hypostatized collective personalities" and "style as a super-artist" or "physiognomic fallacy", Gombrich also unmasked their ideological implications. He first targeted nationalism and racialism, then the perils of totalitarianism and finally all forms of relativism. Gombrich's plea for the universality of the "canon of excellence" can be regarded not only as a defence of humanism but also as a form of apology for the values of Western liberal democratic society.
4

E. H. Gombrich in 1968: Methodological Individualism and the Contradictions of Conservatism

80%
Hemingway A.
Human Affairs
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2009
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vol. 19
|
issue 3
297-303
EN
The commonalities Gombrich affirmed between his own positions on science, politics, and art and those of his friend Karl Popper are key to understanding both his work on the history of style and the conservative fulminations on method he published from the early 1950s onwards. United with Popper by their shared experience of exile from fascism, Gombrich failed to register the amateurish character of Popper's political theory and that his aversion to notions of social determination disabled the historian. Popper's skepticism regarding the ontological status of social collectivities and rejection of the concept of totality reinforced Gombrich's suspicions of holistic analysis and led him to fall back on naturalistic descriptions of individuals acting in a social world glued together by such commonsensical categories as "traditions" and "institutions". In this regard he is representative of the common aversion to sociology of the British intellectual establishment in the early Cold War.
5
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Medieval Representation of the Legend of Saint Ladislaus in Comitatus Gömör

80%
Szakalos E.
Saeculum Christianum. Pismo Historyczne
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2018
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vol. XXV
113-123
EN
The aim of the article is to carry out detailed analysis of the frescoes of Saint Ladislaus legend in comitatus Gomor. Basing on new research as well as on the examination of the two recent discoveries the Authoress casts new light on the issue of mural painting’s dating and on the circumstances connected with theirs creation. The article starts with an introduction on pictorial representation and written sources of the legend of Saint Ladislaus. The main part of the text contains survey on the frescoes from Rimabanya, Rakos, Kovi, Szilice.
6
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A history of non-human lives: social weeds

80%
Weychert M.
Polish Journal of Landscape Studies
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2019
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vol. 2
|
issue 4-5
47-60
EN
The author analyzes Karolina Grzywnowicz’s installation Weeds (2015): a meadow which the artist replanted from two villages in Bieszczady-whose inhabitants had been resettled in 1944-1950-into a site adjoining a street in Warsaw. The meadow was promptly mowed by the municipal services, and thus became a twofold commemoration. First, it was a deliberately created yet subtle and poetical monument to the displaced people. Second, in a manner unanticipated by the artist, it grew into a symbolic martyrdom memorial of the “green urban anarchists”: weeds in other words. The author analyzes the relationships between non-human lives and history, asking whether the marginal history of plants is ever noticed in scientific and social reflection, as well as wondering about the role of plants in commemoration and why they fail as a medium of memory.
7
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Displaced Objects and Meanings. A Few Remarks on the Fang Mask, Masawa Canoes and Kachina Dolls

80%
Kisielewski A.
Kultura i Edukacja
|
2018
|
issue 2(120)
97-112
EN
Each of the artefacts mentioned in the title is an exemplification of products of the anthropological “Other”. Each of them comes from a distinct geographical region and represents an entirely different culture. However, all of them have been connected together in the Western culture realia as a result of a particular type of displacements. The first displacement involved their physical migration – first to European museums of natural history and ethnological museums. The next one resulted in their emergence on the market of exotic “oddities” whereas yet another displacement located them within the conceptual framework delimited by the artistic discourse. This last displacement shows that it is very difficult to understand or “translate” one culture into another because the conceptual framework of the “translator” is always determined by their own culture.
8
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Monumenta polskiej scenografii. Ustawienia – odsłonięcia – obchody

80%
Fazan K.
Didaskalia. Gazeta Teatralna
|
2023
|
issue 175-176
502-550
EN
The article entitled Monumenta polskiej scenografii. Ustawienia-odsłonięcia-obchody is a discussion of the important publication Zmiana ustawienia. Historia polskiej scenografii teatralnej i społecznej XX i XXI wieku (A change of setting. History of the Polish theatre and social scenography in the 19th and 20th centuries) edited by D. Buchwald and D. Kosiński. In the three parts, entitled Settings, Unveilings and Celebrations, the author refers to the methodological assumptions of the project, analyses the contribution of each author to the ambitious research project and reflects on the inclusion of socio-political issues in the study of theatre aesthetics. The author acknowledges the groundbreaking nature of this achievement, crowned with an important scenography exhibition at the Zachęta Gallery in Warsaw authored by Robert Rumas, and enters into polemics with the individual concepts of set design analysis and reflects on the value of the work as a synthesis covering ‘the entirety of Polish scenography’ from the late 19th century to the present day.
9
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Zbigniew Herbert’s Journeys to the South. A Conversation with Andrzej Franaszek and Francesco Matteo Cataluccio, Conducted by Krystyna Pietrych (during the discussion panel at the 12th ‘Puls Literatury’ Festival in Łódź, 8 December 2018)

80%
Cataluccio F. M., Franaszek A., Pietrych K.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2019
|
issue 8
407-420
EN
The topic of a conversation of three literary scholars which took place in the last months of the Zbigniew Herbert Year (2018) is the experience recorded in the poet’s poems and essays of the Mediterranean culture, antiquity as a tool of cognition, an important code as well as the experience of his real journeys to the south of Europe being a kind of dividing line in his literary output and resonating in it.
10
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Kiedy malowidło staje się obrazem?

80%
Salwa M.
Estetyka i Krytyka
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2009
|
issue 15-16
181-189
EN
The author argues that art history, while analyzing painting, mainly representational one, disregards the „moment” which is constituting for this genre of art, i.e. the point in which the physical ground „turns into” the representent world. This point can be called „no man’s land” and can be located only if it is seen from the two opposite poles that are split by it, i.e. either if it is seen from iconographical perspective or from the formalist one. An art historian who wishes to avoid onesidedness.
11
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Pojęcie obrazu w koncepcjach Hansa Beltinga i Waltera Benjamina

70%
Wojtyra J.
Estetyka i Krytyka
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2009
|
issue 15-16
214-224
EN
The article aims to present Hans Belting’s conception of image in the light of Walter Benjamin’s aesthetics. The interdisciplinary issues raised by both theorists go far beyond the reach of art history and the realm of visual experience. The article discusses, in particular, the following notions: external (physical) images, internal (mental) images and their interrelationships, and image migrations. It subsequently touches upon the complex problems of the medium, of perception and its changes due to technology, and explores the role of the subject in the interpretation of images.
12
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The Joy of Creation. Teresa Sierant-Mikicicz’s Role in Building the Gdansk Academy of Fine Arts Brand

70%
Nieczyporowski R.
Sztuka i Dokumentacja
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2023
|
issue 29
57-62
13
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Czy może istnieć świat rzeczy bez rzeczy? Problem badania inwentarzy dóbr w historii sztuki

70%
Morawski K.
Artium Quaestiones
|
2018
|
issue 29
187-208
PL
The paper addresses a problem which traditional art history has thus far ignored, i.e. the examination of items listed in inventories of property. Art historians usually approach concrete works of art to textualize them, while they are helpless confronting items “hidden” behind a text. In the context of the “materiality turn,” inventories reveal their paradoxical character since they include “personal” information about individual objects. If one assumes that the inventory is an instrument used to examine the objects listed in it, one must also realize a basic paradox of approaching them via their purely textual representation. A growing interest of art historians in publishing historical sources, in particular inventories, should result in more reflection on the role assigned to texts and things by historiography. To answer the question how items listed in inventories are available to their readers, the author has made references to cognitive linguistics and epistemology, critiques of historical narrativism, and poststructuralism. Such a comprehensive frame of reference made it possible to analyze some problems of the theory of historical source analysis and the editing and publishing of source texts. A comparison of art history and history of material culture resulted in defining the expectations and limitations related to the study of property inventories conducted by both disciplines. The experience of object analysis, which is a key prerequisite of interpretation, has been described in reference to three cognitive terms: concepts, exemplars, and invariants. The scholar trying to use all the available sources to reach the object itself must take advantage of all his/her experience. Analysis is possible only in a context, while the meaning of concepts, i.e. brief entries about individual items, can be discovered only in a complex system of semiotic reference. Apparently, such analysis can never be objective.
14
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Film fabularny jako narzędzie kuratora i badacza sztuki

70%
Ronduda Ł.
Artium Quaestiones
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2020
|
issue 1
209-236
EN
In the essay, the author, Łukasz Ronduda, relates his own work as an artist, a film director, an art historian and curator, discussed in the light of the cinematic turn and the formation of common ground between cinema and contemporary art in both artistic and institutional sense. Ronduda looks closely at his two full-length feature films: Performer (2015) and Serce miłości (Heart of Love) (2017) and highlights their wider context. The first frame of reference spans from experimental films to contemporary full-length productions dedicated to wide audience. The second reference is his own work involving academic research, curating, writing a novel and the creation of a found footage film. In this self-presentation, Ronduda discloses his different attempts to find the right medium to speak about and analyze contemporary art. The full-length film turned out to be particularly effective medium in its ability to express the truth by means of fiction, placing him between creation and institutional structure. Film as a medium of interpreting art  seems to productively question fixed boundaries between research, criticism and art.
15
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L’Imagination au pouvoir: historia sztuki w czasach kryzysu lat 60./70

61%
Turowski A.
Artium Quaestiones
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2019
|
issue 30
399-413
PL
The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studiedin terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.
16
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L’Imagination au pouvoir: Art History in the Times of Crisis, 1960s – 1970s

61%
Turowski A.
Artium Quaestiones
|
2019
|
issue 30
243-256
EN
The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studied in terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.
17

Ten Reasons Why E. H. Gombrich is not Connected to Art History

61%
Elkins J.
Human Affairs
|
2009
|
vol. 19
|
issue 3
304-310
EN
This is a speculative essay on the place of E. H. Gombrich in art history. Gombrich is universally known, and still often studied at the undergraduate and graduate levels. He is indispensable for the historiography of the discipline. But at the same time, he is not often cited, and his work is not usually part of the ongoing conversations of the current state of art history or visual studies. This brief essay questions that condition.
18
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Patočka’s Interpretations of Hegel’s Thesis on the Past Character of Art

61%
Ševčík M.
Estetika: The Central European Journal of Aesthetics
|
2015
|
vol. 52
|
issue 1
78-114
EN
In his article ‘Art and Time’ (1966) Patočka argues that Hegel rightly recognized a fundamental difference between classical and contemporary art. In developing Hegel’s insight he offers a conception of two eras of art, the ‘artistic’ era and the era of ‘aesthetic culture’. Patočka supposes that artworks of both the artistic era and the aesthetic era always open up a certain ‘meaning’ that gives human existence its fundamental points of reference. The status of this world, however, radically changed from one era to the next. The art of the artistic era offered objective and binding meaning, whereas aesthetic art offers personal or individual meaning. The current article points to an important discrepancy in Patočka’s treatment of the relation between the two eras, and presents Patočka’s later reading of Hegel’s notion of the past character of art. From the perspective of this interpretation, art reveals temporality as such, that is, as the ontological basis of the revelation of meaning. The article emphasizes that such an interpretation demonstrates the ontological relevance of the artwork in greater detail. Yet Patočka continued to use the concepts of the artistic era and the aesthetic era, without sufficiently clarifying the relationship between the two eras. Finally, the author argues that the discrepancy in the concept can be resolved with the help of Patočka’s later reflections on the ‘problematic nature’ of meaning. The article argues that in classical art such a nature is concealed, whereas in modern art it is revealed again. The article includes an English translation of Patočka´s ‘Art and Time’.
19
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Court Chapels in Saxony between 1697 and 1733: Augustus II the Strong between Catholicism and Protestantism

61%
Friedrichs K.
Acta Poloniae Historica
|
2017
|
vol. 116
PL
When Augustus II the Strong (1670–1733) converted from the Protestant to the Catholic confession, he guaranteed his subjects – all Lutheran – the free exercise of their religion and belief. He also respected their wish not to allow the ‘new’ old confession emerge too overtly in the motherland of Martin Luther and the Reformation. Consequently, the Catholic chapels he built during his reign in Saxony were constructed in private in order to assure the peaceful co-existence of the confessions. What may appear to be a tolerant religious policy was in fact almost the contrary: This article will briefly illuminate the historical and political background of Augustus’ decisions, while the main focus will be to examine the newly installed Catholic court chapels.
20
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Znaczenie „Pommersche Kunstgeschichte” (1840) Franza Kuglera w odkrywaniu sztuki Pomorza

61%
Ochendowska-Grzelak B.
Zapiski Historyczne
|
2022
|
vol. 87
|
issue 2
53-87
EN
Franz Theodor Kugler’s (1808–1858) work on the general history of art is well known owing to English and German speaking scholars. Researchers from outside Pomerania are less familiar (or not at all) with the content and significance of the Pommersche Kunstgeschichte published in 1840. The purpose of this article is to discuss the value of this publication. It is one of the first studies of Pomeranian art history in Europe and in the world. Kugler described the most important monuments of the region, especially those located in towns and along transportation routes, which he visited in the summer of 1839. Although he noticed that art in Pomerania originated in pagan times, he mainly demonstrated examples of Christian art from the period of the twelfth century onwards. Pomeranian art was thus Christian and Germanic to him. His analysis concludes with examples from the eighteenth, and a few from the nineteenth century. He was the first researcher to pose the question of the existence of Pomeranian art as a specific art, distinctive from others. In order to address this question he tried to identify its characteristics, which the article tries to point out. Many of Kugler’s theses were maintained and developed by Polish art historians after 1945, which proves the value of his intuition as a researcher. Kugler’s monograph laid the foundation for further research into Pomeranian art. Paradoxically, however, its existence delayed work on the first comprehensive inventory of the region’s historic sites because it was considered by some to be a quasi-inventory of historic monuments.
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