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Painterly Quest for Values

100%
Taranczewski P.
Estetyka i Krytyka
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2014
|
issue 3(34)
121-131
EN
The painter is trying to realize a certain value in the canvas, the value which he feels, he is looking for and he can see in his imagination. Nevertheless, that value is not given to him, it is undefined and unclear. For this reason, painting a picture is both creating and looking for a fully perceptible value. The emerging image shows the painter the form of that value, it is controlled by the artist, but the artist is also controlled by the image which, in a way, leads him. The demanded and achieved value is not a label which appraises the image, stuck on it by the painter, but it is like a light that per- meates and illuminates the painting.
2
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WOJCIECH ANTONI SOBCZYŃSKI – TWÓRCA W PRZESTRZENI POKOLEŃ

100%
Sobczyk E.
Zeszyty Naukowe PUNO
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2017
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issue 5
231-250
EN
The text is an attempt at a cross-sectional view of the works of Wojciech Antoni Sobczyński. It brings the silhouette of this extremely versatile sculptor, painter, conservator and art critic, as well as a longtime resident of the British Isles. He takes consideration of the stylistics of the related works with the fascination of the artist before he left Poland – being among other pupils of Jack Puget, the heir of the French sculptor school – and also upon his arrival in London, drawing on new inspirations and experiences. The processes and changes in Sobczyński’s works will also be emphasized, referring to the identity of the artist. Equally important is the motif of spatiality, above all related to the form of works, allowing for the use of contemporary interpretations and research studies, as well as indicating the position of the artist itself, combining the experiences of diverent generations
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Kazimierz Antoszewski i grupa barokowo-klasycystycznych malowideł ściennych na terenie Wielkiego Księstwa Litewskiego

75%
Michalczyk Z.
Biuletyn Historii Sztuki
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2011
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vol. 73
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issue 3-4
479-530
EN
The author presents works of painter Kazimierz Antoszewski one of the most mysterious figures in Polish art in the late 18 th century. The painter active in Minsk and in Brasławszczyzna (the Braslav Region), executed paintings in Budsław (1782); in the Franciscan churches in Dzisna (Belarus; 1790, unpreserved polychrome; its appearance is today unknown); post-Jesuits church in Łuczaj (Belarus) (after 1783), and in the cathedral in Minsk (1798-1800). It is also a known fact that the artist remained in the service of t he Mścisław starost Jan Nikodem Łopaciński. A thorough formal analysis allows to attribute many other works to Kazimierz Antoszewski’s workshop, while thanks to the analysis of historical sources the rough chronology of its works can be ascertained.
4
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Tadeusz Rychter - nowe fakty z życia artysty

75%
Różalska J.
Biuletyn Historii Sztuki
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2013
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vol. 75
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issue 3
487-503
EN
The author presents a biography of Polish painter and graphic Tadeusz Rychter (1870-1943).
5
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„Nieszczęsny (auto)portret” Anny Bilińskiej-Bohdanowicz

75%
Bagińska A.
Biuletyn Historii Sztuki
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2012
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vol. 74
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issue 1
67-76
EN
Anna Bilińska (1857-1893), an outstanding painter active in Paris in the late nineteenth century who focused first of all on portrait painting has sunk into oblivion. The oblivion of her and her oeuvre may result from the image of the artist created at the turn of the nineteenth and twentieth centuries as an extremely talented promising artist whose premature death stopped her from creating some valuable works. Bilińska was therefore considered an unfulfilled artist and therefore all the works she executed lost their importance. They were perceived as merely some practice anticipating her ‘true’ works. The symbol of the artist’s unfulfilled career has been found in the unfinished Self-Portrait from 1892 regarded to be her last painting before she was due to enter the path of great art.
6
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« Ces orgies d’inspirations ». Le destin du peintre d’après le "Journa"l de Félix Ziem

63%
Sokołowicz M.
Cahiers ERTA
|
2023
|
issue 35
61-80
EN
The present paper focuses on the diary of the French painter Félix Ziem (1821-1911) and inquires the destiny of the painter emerging from his writings. Basing on the theories of diary writing (B. Didier, A. Girard, J. Lis), it shows how the artist represents his profession. The analyses convey that three elements are necessary for Félix Ziem to fulfill the destiny of the painter: hard work, dreamy contemplation of nature and travels. Those elements are described in detail in the three consecutive parts of the paper. The conclusions display a self-confident artist, influenced by Romantic aesthetics, who consciously constructs in his diary a testimony of his life as an example of painter’s destiny.
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Tadeusz Adam Zieliński (4 II 1907, Trzebinia – 25 XI 1993, Londyn) — polski artysta rzeźbiarz i malarz jako żołnierz Armii generała Andersa i po zakończeniu działań wojennych

51%
Zybert E. B.
Roczniki Kulturoznawcze
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2017
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vol. 8
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issue 2
29-80
PL
Artykuł poświęcony jest porucznikowi Tadeuszowi Adamowi Zielińskiemu (4 II 1907 – 25 XI 1993), polskiemu artyście rzeźbiarzowi i malarzowi, żołnierzowi Armii generała Władysława Andersa. Zaprezentowano jego prace, począwszy od płaskorzeźby Matki Boskiej Zwycięskiej-Kozielskiej, wykonanej w obozie w Kozielsku, gdzie przebywał, prace w Palestynie (w Tyberiadzie: ołtarz-monument dedykowany Matce Boskiej Częstochowskiej-Królowej Korony Polskiej; w Jerozolimie: mozaika w absydzie Bazyliki Agonii; wystrój rzeźbiarski w III i IV stacji Drogi Krzyżowej), prace na emigracji, przede wszystkim w Wielkiej Brytanii (m.in. Londyn: rzeźba Matki Bożej Światłości; ołtarz w kościele pw. św. Andrzeja Boboli; Birmingham: figura Madonny z Dzieciątkiem; rzeźby eksponowane na wystawach; kaplica-pomnik w Carfin koło Glasgow) oraz w Nazarecie (mozaika w krużganku Bazyliki Zwiastowania)
EN
The paper is dedicated to Lieutenant Tadeusz Adam Zielinski (4 February 1907 – 25 November 1993), Polish artist, sculptor and painter, soldier in general Anders’ Army. A presentation of his work begins with the reliefs of Our Lady of Victory-Kozielska, made in the camp in Kozelsk where he stayed. It follows with the work done in Palestine (in Tiberias: an altar-monument dedicated to Our Lady of Czestochowa-Queen of the Polish Crown; in Jerusalem: mosaics in the apse of the Basilica of the Agony; sculptures in the 3rd and 4th station of the Way of the Cross). Third, it includes his work done in exile, mainly in the UK (London: the statue of Our Lady of Light, the altar in St. Andrew Bobola church; Birmingham: the statue of the Madonna and Child; sculptures exhibited in exhibitions; chapel-monument in Carfin near Glasgow), and Nazareth: mosaic in the portico of the Basilica of Annunciation).
8
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Uwagi na temat pierwowzorów dzieł Szymona Czechowicza i malarzy jego kręgu

51%
Michalczyk Z.
Biuletyn Historii Sztuki
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2013
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vol. 75
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issue 4
697-773
EN
During the entire period of his activities in the Polish territories, Szymon Czechowicz applied graphic models. The unique character of this approach, arguably stemming from the quality of education he had acquired when in Rome, boiled down to the consistency in his choice of prints, the majority of which he may have brought with him from Rome. As for the choice of compositions for copying and adaptation, Carlo Maratta provided the most important examples. Subsequently, the following Roman artists of the 17 th and early 18 th century should be named: Sebastiano Conca, Niccolò Berrettoni, Pier Leone Ghezzi, Pietro da Cortona, Giovanni Lanfranco, Pietro Nelli, Benedetto Luti, Mario Balassi. Among the presented paintings whose compositions are either literal or minimally modified repetitions of other artists’ solutions, there are hardly any high-quality works: monumental paintings, meant to form part of the high altar. Instead, what dominate are smaller-sized canvases placed in side-altars, crowning the high altar, in the backrests of the choir stalls, as well as a relatively small devotional painting; finally, paintings created with a significant if not dominant, contribution of the studio.
9
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Stanisław Wroński – artysta, powstaniec, sybirak

38%
Leszczyńska D.
Radzyński Rocznik Humanistyczny
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2019
|
vol. 17
53-68
PL
Na cmentarzu parafialnym w Radzyniu Podlaskim zachował się XIX-wieczny pomnik nagrobny mało dziś w Polsce znanego artysty malarza – Stanisława Wrońskiego (1840-1898). Prawdo-podobnie mamy do czynienia z jedyną realizacją warszawskiego warsztatu kamieniarskiego Andrzeja/Leonarda Pruszyńskich w Radzyniu, a może i w regionie. Stanisław Wroński urodził się na Lubelszczyźnie, od 1857 r. studiował w Szkole Sztuk Pięknych (późniejszej Akademii). Był zdolnym, obiecującym malarzem pejzażystą, cenił zwłaszcza twórczość Jana Matejki, Hen-ryka Siemiradzkiego oraz szwajcarskich mistrzów pejzażu. W okresie przedpowstaniowym zaangażował się w działalność patriotyczną, a w 1863 r. dołączył do oddziałów w Lubelskiem. Aresztowany został w pierwszych dniach marca 1863 r. w Rossoszy, gdy jako kurier przewoził depesze naczelnika powiatu radzyńskiego. Po kilkumiesięcznym śledztwie pozbawiono go praw stanu i skazano na 10 lat ciężkich robót w twierdzach syberyjskich. Początkowo przeby-wał w Piotrowsku, Siwakowej, Darasuniu nad Turą, a następnie w Irkucku. Wroński był towa-rzyszem około bajkalskich ekspedycji innego zesłańca, wybitnego badacza Syberii – Bene-dykta Dybowskiego. Wykonywał m.in. rysunki z natury do jego prac naukowych. Wytrwale tworzył i wysyłał swoje obrazy do Warszawy, Petersburga, Sztokholmu. Niektóre pozostały na Syberii (np. w Irkucku), tylko nieliczne trafiły do kraju. Na rodzimym rynku sztuki są dzisiaj wielką rzadkością.
EN
On the parish graveyard in Radzyń Podlaski, there is a 19th century tombstone of Stanisław Wroński (1840-1898), a painter relatively unknown in Poland nowadays. Most likely, it is the only tombstone in Radzyń – maybe even in the only one in the region – from the Warsaw-based masonry workshop of Andrzej and Leonard Pruszyński. Stanisław Wroński was born in the Lubelskie region, and in 1857 began studies at the School (later Academy) of Fine Arts. He was a talented and promising landscapist, who particularly appreciated works by Jan Matejko, Henryk Siemiradzki and Swiss landscape masters. Before the January Uprising, he was active in patriotic circles, and in 1863 he joined Polish fighters in the Lubelskie region. He was ar-rested in early March 1863 in Rossosz, when transporting dispatches from the commander of the Radzyń area. After a few months of investigation, he was stripped of the nobleman’s privi-leges and sentenced to 10 years of hard labour in Siberian strongholds. Initially, he was sent to Piotrovsk, Sivakova, Darasun upon Tur, then to Irkutsk. Wroński accompanied Benedykt Dybowski, another Polish exile and eminent explorer of Siberia in his expeditions to Lake Baikal. For example, he drew pictures of various specimens Dybowski found and described in his works. Incessantly, he continued to create and send his paintings to Warsaw, Petersburg, Stockholm. Some of his works remained in Siberia (e.g. in Irkutsk) and only a few arrived to Poland. Nowadays, they are very rare in Polish art market. Having returned to Poland, Stanisław Wroński alternated between Lubelskie area (Podlasie?) and Warsaw, and in 1892 eventually settled in the capital, in Krucza 25, where he had his studio. Despite health prob-lems and difficult material situation, he continued to create, exhibit, and travel. He died sud-denly, on 5 January 1898 in Zbulitów near Radzyń, probably in his brother’s house.
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