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1

Denon a Polska i Polacy

100%

Ajewski K.

Biuletyn Historii Sztuki

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2009

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vol. 71

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issue 1-2

113-151

EN

This article presents Dominique Vivant baron Denon (1747-1825), who under Napoleon Bonaparte held the important and highly prestigious position of “administrateur des arts”. The author of this article has decided to make amends for the absence in the existing literature and familiarize the Polish and non-Polish reader alike with the relations linking this figure with the people and territories of pre-partition Poland. For almost two decades, Denon dealt with matters relating to the searching out and requisitioning, in the name of Napoleon I, of works of art throughout Europe.

2

WILANÓW WORKS OF ART IN THE GERMAN CATALOGUE SICHERGESTELLTE KUNSTWERKE IM GENERALGOUVERNEMENT

88%

Kudelski J. R.

Muzealnictwo

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2019

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vol. 60

189-198

EN

Before the outbreak of WW II, the works of world art collected at the Wilanów Palace were considered to be the largest private collection in the Polish territories. Just the very collection of painting featured 1.200 exhibits. Apart from them the Wilanów collection contained historic furniture, old coins, textiles, artistic craftsmanship items, drawings, and prints, pottery, glassware, silverware, bronzes, sculptures, as well as mementoes of Polish rulers. Already in the first weeks of the German occupation, assigned officials selected the most precious art works from the Wilanów collections, and included them in the Sichergestellte Kunstwerke im Generalgouvernement Catalogue. The publication presented the most precious cultural goods secured by the Germans in the territory of occupied Poland. It included 76 items: 29 paintings and 47 artistic craftsmanship objects. In 1943, the majority of the works included in the quoted Catalogue were transferred to Cracow. A year later, the most valuable exhibits from Wilanów were evacuated to Lower Silesia. What remained in Cracow was only a part of the collection relocated from Wilanów. The chaos of the last weeks preceding the fall of the Third Reich caused that many art works from the Wilanów collection are considered war losses. Among many objects, included in the above Catalogue, there are several Wilanów paintings: Portrait of a Man by Bartholomeus van der Helst, Portrait of a Married Couple by Pieter Nason, Allegory of Architecture, Painting, and Sculpture by Pompeo Batoni, Allegorical Scene in Landscape by Paris Bordone, and The Assumption of Mary by Charles Le Brun.

3

Klaryski krakowskie a powstanie kościuszkowskie 1794 r.

63%

Gąsiorowska P.

Hereditas Monasteriorium

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2012

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vol. 1

99-106

EN

Since the beginning of 18th century and especially during the Great Northern War, the convent of st. Clare was bearing many expenses in order to maintain Polish and foreign (the Saxon, Swedish, Russian, and Prussian) armies. Additionally, there were the costs of war contributions and also buyouts of the equipment, food, horses, cattle, and people arrested or confiscated during the marches of separate troops through the villages belonging to the nuns. At the outbreak of Kościuszko Uprising (24th March 1794) the Clarisses were dutifully performing all recommendations of the insurgent authorities, related with financial support of this patriotic spurt: they have equiped the recruit for the equestrian militia ensuring him clothes, tacked up horse, weapons, the wage; additionally, they have provided people for defense and also prepared bandages. Especially painful for them was the requisition (in the form of a loan) of silver, mostly in the form of valuable liturgical equipment, which they have never recovered. After the fall of Cracow (15th June 1794) the sisters were forced to keep the Prussian troops that were stationed in the city.

4

BADANIA PROWENIENCYJNE W POLSCE (CZĘŚĆ 2.)

63%

Romanowska-Zadrożna M.

Muzealnictwo

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2017

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vol. 58

47-59

EN

This article continues the first part of Provenance studies in Poland published in issue 57 of the “Muzealnictwo” Annual in 2016, and complements the text published two years ago, which was more general and focused on the situation in the USA and Europe. It presents diverse aspects of the topic, through statistical analysis of the situation in our museums and discussing works by Polish authors who tackled the problem of methodology, including first texts on library science and war losses, so-called orphaned works and property of Holocaust victims, and the post-war situation which contributed to the work’s loss of its origin. The article also draws attention to the legal aspects of purchasing artworks without due diligence, as well as to the verification of museum exhibits’ origin before obtaining legal protection for those works which are to be placed under so-called museum immunity. In the literature on provenance studies when examining the provenance of artworks, the increasing role of digital tools, such as the internet or digitisation, has been noted. Attention has also been drawn to the contribution of conservators and their innovative methods which may help determine the origin of an object. Another aspect raised in the text is the issue of the theoretical preparation to conduct provenance studies as well as the education which is already standard in library science faculties, but still a long-awaited subject for students of art history and archiving. Although NIMOZ has already organised day-long workshops for museum professionals, and the University of Warsaw has conducted academic seminars lasting several hours, there is still a long way before reaching the two-term studies offered at the Berlin Open University.

PL

Niniejszy artykuł jest kontynuacją opublikowanej w „Muzealnictwie” 57’2016 części pierwszej Badań proweniencyjnych w Polsce oraz uzupełnieniem tekstu sprzed 2 lat – bardziej ogólnego, skupiającego się na sytuacji w USA i Europie. Prezentuje on różne aspekty tego zagadnienia, zarówno poprzez statystyczne rozpoznanie sytuacji w naszych muzeach, jak i omówienie prac polskich autorów poruszających problemy metodologii, w tym prekursorskich tekstów z dziedziny bibliotekoznawstwa, a także strat wojennych, tzw. dzieł osieroconych i mienia ofiar Holocaustu oraz powojennej sytuacji przyczyniającej się do zatracanie przez dzieła swojego pochodzenia. W tekście zwrócono uwagę na aspekty prawne nabywania dzieł bez zachowania należytej staranności oraz na weryfikację pochodzenia muzealiów przed uzyskaniem ochrony prawnej dzieł, które mają zostać objęte tzw. immunitetem muzealnym. W literaturze na temat badań proweniencyjnych zauważano wzrastającą – w procesie badania proweniencji dzieł sztuki – rolę narzędzi cyfrowych, takich jak internet, czy digitalizacja. Zwrócono także uwagę na wkład konserwatorów i opracowanych przez nich nowatorskich metod, które mogą wspomagać działania mające na celu określenie pochodzenia przedmiotu. Osobnym zagadnieniem poruszanym w tekście jest kwestia przygotowania teoretycznego do prowadzenia badań proweniencyjnych i edukacja, będąca już standardem na kierunkach bibliotekoznawczych, a oczekiwanym przedmiotem w procesie nauczania przez studentów historii sztuki i archiwistyki. Dla muzealników zorganizowane zostały w NIMOZie całodniowe szkolenia, a na Uniwersytecie Warszawskim kilkugodzinne zajęcia akademickie, jednak daleko im jeszcze do dwusemestralnych studiów proponowanych w Berlinie na Wolnym Uniwersytecie.

5

National Traumas – Local Memories Villages Southeast and Southwest from Kolozsvár (Cluj-Napoca) during WW2 – General Research Overview

63%

Nagy A.-C.

Acta Universitatis Sapientiae, European and Regional Studies

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2015

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vol. 7

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issue 1

31-39

EN

The presentation summarizes the results of two years of oral history research. The aim of the research was to record the recollections of the still living eyewitnesses of the events in the fall of 1944 in Cluj and its surroundings, in settlements that belonged to the southern part of Transylvania during World War II. Several hours of interviews were made in the villages of the regions of Ţara Călatei (Kalotaszeg) and the Transylvanian Plain (Mezőség), and the lecture presents a synthesis of these interviews. They address issues like deportation, atrocities, fleeing, arm usage, Soviet and Romanian detention camps, adventurous escapes, etc.

6

Dokumenty Komisji Porządkowej Powiatu Grodzieńskiego dotyczące rekwizycji sreber kościelnych kamedułów z Wigier na potrzeby powstania kościuszkowskiego

45%

Morawski K.

Hereditas Monasteriorium

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2015

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vol. 6

399-410

EN

The Kościuszko Uprising began on 24 March 1794, quickly turning into a national uprising against the partitioning powers. From the very beginning of the uprising its leaders called for donations for the army, addressing the call not only to the laity but also to the clergy. Despite people’s generosity, the commander of the uprising, Tadeusz Kościuszko, issued an order of requisition of silver kept in churches. The bodies responsible for enforcing the decree were order commissions established in various administrative units free from the enemy troops. The present article examines the work of the Grodno District Order Commission with regard to the requisition of church silver. The source edition is based on three documents kept in the Central Archives of Historical Records in Warsaw in the fonds Nabytki niedokumentowe Oddziału I [Undocumented Acquisitions of Department I] no. 110, part II. They are: Copy for the Board of the Grodno Commission issued to persons delegated to collect church silver of 24 May 1794; Register of church silver of the Parish Church in Suwałki made in the presence of commissioners delegated for the purpose of 10 June 1794; Register of church silver of the Wigry monastery of the Camaldolese Fathers made in the presence of commissioners delegated for the purpose of 17 June 1794. The published documents can expand the existing body of knowledge of the requisition of church property for the uprising. The scale of this enterprise is not yet fully known to historians of art owing to a lack of sources. This makes isolated surviving relics of that campaign all the more important, relics like the documents published above or accounting books. However, the vagueness of descriptions of the requisitioned objects prevent us from following their subsequent fate.

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2 Hereditas Monasteriorium

2 Muzealnictwo

1 Acta Universitatis Sapientiae, European and Regional Studies

1 Biuletyn Historii Sztuki

1 Ajewski K.

1 Gąsiorowska P.

1 Kudelski J. R.

1 Morawski K.

1 Nagy A.-C.

1 Romanowska-Zadrożna M.

1 2019

1 2017

2 2015