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"Národopisné oddělení jest chloubou našeho Muzea" : Cesty muzejního národopisu v letech 1918-1938

100%

Woitschová K.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2018

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vol. 105

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issue 3

285-324

EN

The study, based on original and unused archive materials, aims to describe and analyze the development of the ethnographic department of the National Museum in years 1918-1938, in the context of contemporary ethnographic science and museology transformations as well as socio-political conditions. A separate ethnographic department of the National Museum was established in 1922, when the museum’s existing ethnographic collection was merged with the treasures of the Czechoslavic Ethnographic Museum. This unification was a manifestation of the centralist tendencies of Czech interwar museum management. Another such tendency - strong political influences on cultural institutions - was represented by an unsuccessful attempt to further unite thus created entity with the collections of the Czechoslovak Agricultural Museum. In context of the entire Museum’s development, some interesting features of the department’s development can also be mentioned: under the leadership of Václav Fabian and Drahomíra Stránská, later one of the key figures of Czech interwar ethnography, the department became a pioneer of short-term exhibitions, and a picture archive was an integral part of the ethnographic collection from the very beginning. Certain scientific projects in the department were important in terms of the development of ethnography (an attempt to establish an open-air folk museum), but they also had a significant political aspect (moving the Greek-Catholic church from the Carpatho-Ruthenian town Medvedovce to the Kinský Garden complex).

2

Muzea. Muzealnictwo. Prawo muzeów

84%

Pruszyński J.

Santander Art and Culture Law Review

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2015

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issue Numer 1

9-40

EN

The paper presents the author’s views on the museum as an institution and museums in general as a set of problems connected with their organisation and operation and relevant laws and regulations which apply to such areas as: cultural heritage and cultural awareness and their significance in cherishing memory, tradition and a sense of community, as well as issues related to museum ethics and the education of the professional staff working in museums. The development of museums since antiquity is presented, together with the main world collections gathered over centuries, and the circumstances in which they were created and sometimes destroyed is described, including the legal regulations that have governed them. In this context, the specifics of the working of museums established on Polish territory during the partitions of the 19th century and, in particular, their functioning in occupied Poland during two world wars are discussed, with particular focus on the irreparable losses suffered by Polish culture in the 20th century. The process of the unlawful takeover of those museums by the state after the second world war together with all its consequences such as a disregard for the traditional autonomy of museums, or the taking away of many collections from their legitimate private owners which led to the disappearance of local identities and the cultural awareness of society have also been described, followed by a critical analysis of legal regulations governing museums in Poland today.

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GALERIA UFFIZI W ŚWIETLE RELACJI PODRÓŻNIKÓW Z RZECZPOSPOLITEJ XVIII WIEKU

67%

Wrześniak M.

Muzealnictwo

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2017

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vol. 58

74-83

EN

The article briefly studies the way of perceiving of the Uffizi Gallery in Florence by Polish travellers during the period when the museum was subject to the so-called Enlightenment order. The analysis of memoirs from diaries of the Polish Grand Tour indicates that they were considerably influenced by Italian guidebooks and texts by French travellers, among which the most popular was Voyage d’un français en Italie fait dans années 1765–1766 by Joseph-Jérôme Lalande, who was eagerly referred to and his passages quoted. Realising the scheme of the Uffizi Gallery’s descriptions by Polish travellers, one should not hastily assume they lacked the sense of observation, taste or aesthetic sensitivity, and finally the ability to assess a work of art. An in-depth analysis of Polish notes indicated that enlightened arrivals from the Vistula River could critically relate not only to the text of the guide or the French description mentioned, directly ascertaining: You were not right, Mr Lalande!, but also that they came to Florence prepared for the reception of an artwork and the museum itself. They were primarily interested in newly acquired objects or changes in the exhibition. The picture of a Polish traveller, as it is seen through Polish 18th-century accounts, who notes – frequently remotely – fleeting impressions, but without a doubt, they are perfectly aware of what they are looking at.

PL

Artykuł jest krótkim studium na temat postrzegania florenckiej Galerii Uffizi przez polskich podróżników w czasie gdy muzeum podlegało tzw. oświeceniowym porządkom. Analiza relacji zawartych w pamiętnikach polskiego Grand Tour wskazuje, iż niemały wpływ na ich kształt miały włoskie przewodniki oraz teksty francuskich podróżników, wśród których najbardziej popularnym był Voyage d’un français en Italie fait dans années 1765–1766 Josepha-Jérôme’a Lalande’a, do którego chętnie odwoływano się, cytując wybrane passusy. Dostrzegając schematyzm opisów Galerii Uffizi pozostawiony na kartach relacji polskich podróżników nie należy jednak przyjmować pochopnie tezy o braku u nich zmysłu obserwacji, gustu czy estetycznej wrażliwości, w końcu braku umiejętności oceny dzieła sztuki. Dokładniejszy ogląd polskich notatek wskazuje, iż oświeceni przybysze znad Wisły potrafili odnieść się krytycznie nie tylko do tekstu przewodnika czy wspominanego francuskiego opisu, konstatując wprost: Nie miał racji Pan Lalande!, lecz także, iż przybywali do Florencji przygotowani do odbioru dzieła sztuki, jak i samego muzeum, w którym w pierwszym rzędzie interesowali się nowo pozyskanymi obiektami lub zmianami dokonanymi w ich ekspozycji. Z kart polskich relacji z XVIII w. wyłania się obraz polskiego podróżnika, który notuje – często zdawkowo – przelotne wrażenia, lecz bez wątpienia ma doskonałą świadomość wartości tego, na co patrzy.

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"Národopisné oddělení jest chloubou našeho Muzea" : Cesty muzejního národopisu v letech 1918-1938

Muzea. Muzealnictwo. Prawo muzeów

GALERIA UFFIZI W ŚWIETLE RELACJI PODRÓŻNIKÓW Z RZECZPOSPOLITEJ XVIII WIEKU