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“A History of Polish Art” by Michał Walicki and Juliusz Starzyński in Poland between the World Wars. The West, Poland, the East

100%
Labuda A. S.
Artium Quaestiones
|
2019
|
issue 30
65-91
EN
Writing an academic history of Polish art was an urgent task of art historians after World War I, when the country regained its political independence. An important and creditable achievement in that respect was a study by Michał Walicki and Juliusz Starzyński, published in 1934 as a kind of supplement to the monumental Geschichte der Kunst von der altchristlichen Zeit bis zur Gegenwart by the Marburg historian Richard Hamann, translated at that time into Polish. In 1936, the work of the Polish scholars was published again in the form of a separate book. The paper focuses on three problems that were addressed in it: the cultural and artistic ties of Poland to the West, the vernacular features of Polish art, and the presence of the “Eastern art” in Polish artistic heritage. The author examines also the question whether those issues were related to the political, social, and cultural reality of the Second Polish Republic.
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Michała Walickiego i Juliusza Starzyńskiego „Dzieje sztuki polskiej” w II Rzeczypospolitej. Zachód, Polska, Wschód

100%
Labuda A. S.
Artium Quaestiones
|
2019
|
issue 30
339-365
PL
Writing an academic history of Polish art was an urgent task of art historians after World War I, when the country regained its political independence. An important and creditable achievement in that respect was a study by Michał Walicki and Juliusz Starzyński, published in 1934 as a kind of supplement to the monumental Geschichte der Kunst von der altchristlichen Zeit bis zur Gegenwart by the Marburg historian Richard Hamann, translated at that time into Polish. In 1936, the work of the Polish scholars was published again in the form of a separate book. The paper focuses on three problems that were addressed in it: the cultural and artistic ties of Poland to the West, the vernacular features of Polish art, and the presence of the “Eastern art” in Polish artistic heritage. The author examines also the question whether those issues were related to the political, social, and cultural reality of the Second Polish Republic.  
3
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Landscape Painting and the Construction of “Icelandicness”: Icelandic Modern National Art vis-à-vis its Danish Origins

58%
Konopka E.
Biuletyn Historii Sztuki
|
2023
|
vol. 85
|
issue 1
95-116
PL
Artykuł jest próbą wypracowania nowego podejścia do islandzkiej sztuki narodowej, popartego analizą jej roli w konstruowaniu „islandzkości” i islandzkiej tożsamości. Pozostając w ciągłym dialogu z rozprawą Ann-Sofie Nielsen Gremaud Kryptokoloniale landskaber: tid, sted og rum i billeder af islandsk landskab 1874–2011 (2012), tekst koncentruje się jednocześnie na islandzkim malarstwie pejzażowym z lat 1874–1944 i jego relacji ze sztuką duńską. Sztuka nordycka, a zwłaszcza islandzka, zazwyczaj pomijana w europejskiej narracji historyczno-artystycznej, warta jest jednak bliższego poznania. W pracy przyjęto podstawowe założenie, że nowoczesna islandzka sztuka narodowa wywodzi się z duńskiej tradycji akademickiej, a islandzcy artyści uczestniczyli w tworzeniu tożsamości narodowej pozostając w opozycji wobec modelu duńskiego. Aby znaleźć poparcie dla postawionej tezy, wykorzystano metodologie bliskie postkolonializmowi i kryptokolonializmowi, jak również inspirowane imagologią i oparte na interdyscyplinarnych badaniach z zakresu historii sztuki, historii, antropologii i kulturoznawstwa.
EN
The article constitutes an attempt at developing a new approach to Icelandic national art, supported by an analysis of its role in the process of constructing “Icelandicness” and the Icelandic identity. It enters a dialogue with the study Kryptokoloniale landskaber: tid, sted og rum i billeder af islandsk landskab 1874–2011 by Ann-Sofie Nielsen Gremaud, with a concurrent focus on Icelandic landscape painting of the period 1874–1944 and its relation to Danish art. The Nordic, and especially the Icelandic art was routinely overlooked in the European artistic and historical narration, including the Polish scholarly environment, but it is well worthy of a closer scrutiny. Two fundamental assumptions that define the analysis presented herein are that the modern national art of Iceland derives from the Academic tradition in Denmark and that, concurrently, Icelandic artists participated in the process of developing national identity in opposition to the Danish model. In order to find confirmation for the posed theses, methodologies close to post-colonialism and crypto-colonialism have been used, as well as ones inspired by imagology and based on interdisciplinary research in the fields of art history, history, anthropology and cultural studies.
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