Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Człowiek wśród zwierząt. Obrazy Józefa Chełmońskiego z lat 90. XIX wieku

100%
Haake M.
Biuletyn Historii Sztuki
|
2014
|
vol. 76
|
issue 4
667-689
EN
On the grounds of Chełmoński’s declarations and the opinions of the individuals who knew him it can be concluded that the painter treated both humans and animals as the fruit of Divine creation. Such a conviction was of particular importance over the period of the heated debate on Darwin’s theory of evolution. Hence the question whether this attitude has ever found a visual expression in Chełmoński’s oeuvre? The discussed study analyzes works representing humans and animals painted in the 1890s when on many occasions the artist displayed his perception of the world as being in compliance with the letter of the Holy Scriptures.
2
Publication available in full text mode
Content available

Składnia i semantyka obrazu. O "Karcie Setnika" z Kodeksu Egberta.

100%
Haake M.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
|
2010
|
issue 2(16)
77-89
EN
The study deals with a miniature from the Codex Egberti, one of the most renowned achievements of the Ottonian Renaissance, depicting Christ talking to a centurion, and it analyses relations between syntax and semantics of the image. The miniature shows some figures, despite the above mentioned also four apostles and four soldiers, on the ‘empty’ background, in formal regard it comes as an illumination define by the mutual relations of the figures and by the relation of the miniature itself to its painted frame. In comparison to the text of the Gospel (Matthew, 8), which records the talk between the figures in four phases, the picture presents only one scene. However, regarding the linear and plane constitution of Christ figure, his acting is marked with ambiguity, which refers him to all the characters in dialogue, both the centurion and the apostles, thanks to this the image is capable of presenting the whole of the event described in the text. A few experiments of changing Christ’s position in relation to the image field and to the accompanying him groups of characters also prove this ability, as well as comparing the results of changes with the original solution. With the aim of these experiments the author proves that each movement within the syntax of the image disturbs its semantics, which led to the conclusion that painting it- self is a speech thanks to its natural abilities of realising varied layers of sense as a viewing unity that can be grasped simultaneously.
3
Publication available in full text mode
Content available

Shylock i Jessica – Maurycy Gottlieb jako malarz

100%
Haake M.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
|
2015
|
issue 1(35)
20-34
EN
The oeuvre of a Jewish-Polish painter, Maurycy Gottlieb has been considered so far as strictly related with his biography and the questions of a national and religious identity. This perspective, much as it applies to extraordinarily significant issues, results in overlooking a picture as a picture, meaning the relation between a representation and a pictorial medium, i.e. surface. The relation of the both elements makes up a possibility to reveal a specific speech of painting, absent in other kinds of art. The question whether it comes to this revelation is an indispensable one. Especially in terms of the pictures whose contents derive from texts, as in the case of Gottlieb’s painting, Shylock and Jessica, which depicts characters of Shakespeare’s The Merchant of Venice. In this case the question must be also posed if the painting’s features, perceived as the painter’s original achievement – namely iconography, the scene of handing in the keys, and its composition, as well as depicting Shylock as a tender, painful father – should be perceived as a typical solution in view of various manifestations of reception of this work by Shakespeare. Originality and artistic significance of Gottlieb’s painting is revealed instead in the fact that the artist – with the aim of provoking an optical play between the representation and the pictorial surface – managed to come up with a visual equivalent of important and general, namely reaching beyond a narrative dimension of the scene, traits of relations between the drama characters. Referring to the question of identity, in consequence we can state that Gottlieb by means of his painting does not speak to us neither as a Jew, nor as a Pole, but as a painter.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.