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1

Przyczynek do historii niezachowanej kolekcji Michaliny z Dziekońskich Zaleskiej (katalog rysunków ze zbiorów Biblioteki Narodowej)

100%
Pietrzak A.
Rocznik Biblioteki Narodowej
|
2012
|
vol. 43
167-233
EN
Amongst all the memorabilia gathered by Michalina Zaleska nee Dziekońska were letters written by Frédéric Chopin and Józef I. Kraszewski, and drawings of George Sand, Teofil Kwiatkowski, and Cyprian Norwid. Unfortunately, most of this interesting heritage was destroyed in Grodno during the Polish-Soviet War in 1920. The archives that are kept in the National Library of Poland contain the most extensive information about the collection of Michalina Zaleska nee Dziekońska, allowing us to reconstruct a fragment of it. A picture directory of drawings which were preserved in this library lists 128 works of different artists and one sketchbook. In 1904 in Dziekońska's palace in Grodno, Zenon Przesmycki found Norwid's "writings in verse and in prose" and it was probably at that time that he saw and described "the great album with the cipher M.D. bound in grey canvas" from which most of the pictures listed in the directory are derived. Until now the continuing story of this unpreserved album was unknown. Based on the information given by Juliusz W. Gomulicki it was supposed that this album was lost in Grodno in 1920, but after researching the archive and analysing a few published references it was discovered that by 1930 the album was included in the collection of the National Library of Poland. In August 1939 drawings from "the great album with the cipher M.D." were catalogued and prepared for evacuation. Hidden with the rest of the National Library's collection they survived the September Campaign. Unfortunately they were burned after the fall of the Warsaw Uprising, although two of Chopin's portraits by Teofil Kwiatkowski miraculously survived. The National Library of Poland also keeps four of Norwid's drawings, originally belonging to Dziekońska, and her sketchbook which were added to the collection with the heritage of Przesmycki in 1945. Random information scattered amongst different sources additionally mentions a dozen or so different objects from Dziekońska's collection (lost or kept in different public collections). Had it survived, "the great album with the cipher M.D." would be the most extensive and precious of norwidian books of friendship. From preserved photographs and reproductions we know what 28 of the album's drawings looked like, decriptions of the rest were given by the archive.
2

18. gadsimta rīdzinieku modes tērpi Johana Kristofa Broces zīmējumos

80%
Parute E.
Makslas Vesture un Teorija
|
2016
|
vol. 19
6-21
EN
The legacy of the student of Baltic local history Johann Christoph Brotze (1742–1823) has always attracted researchers of 18th century Latvia’s culture and art. His collection in ten volumes, ‘Sammlung verschiedener Liefländischer Monumente, Prospecte, Wapen, etc.’ (below Monumente) in the Academic Library of the University of Latvia contains visual documentation and descriptions of townspeople’s everyday life, customs, entertainment and social transformations. While examining the visual specificities of clothes worn in late 18th century Riga, the author of this article discovered many locally peculiar and interesting evidences of city dwellers’ wish to follow the latest fashions of the time. The first volume (Riga Views, People and Buildings, 1992) of the academic publication of Brotze’s legacy ‘Zīmējumi un apraksti’ (Drawings and Descriptions), with materials from the 3rd volume of ‘Monumente’, gave a deeper insight into the clothing habits in Riga, revealing the meaning of the visual message of attire in the cultural-historical scene created by late 18th century Rigans and city visitors. The transition from Rococo to Classicism became the leading factor in the fashion trends of Vidzeme at the time, bringing corresponding motifs to art and fashion. The ethnic and social composition of the population in the second half of the 18th century significantly influenced Riga’s visual image – as seen from Brotze’s drawings, a rather motley and peculiar scene emerged here, manifesting both topical European phenomena and a mix between various ethnic elements and the fashion of the day. Drawings of city dwellers’ clothing in Brotze’s collection testify to the diversity of Riga in the 1770s–1790s. This scene displays the originality of townspeople’s clothes, testifying to uneven changes in the fashion field. In some cases there are just some modern details but other Brotze’s drawings show a Rigan whose costume represents the current fashion tendencies in Western Europe.
3

MATISSE, PLANTS AND DECORATIVENESS (Matisse, Plantes et Decoration)

80%
Chassey E. d.
Makslas Vesture un Teorija
|
2006
|
vol. 6-7
27-32
EN
The article explores floral drawings by French artist Henri Matisse, his attempts to link sensuality of the female body with the botanical world and the role of decorativeness and ornament in his art.
4

REMBRANDT'S MASTERLY CHIAROSCURO. DRAWINGS AND PRINTS EXHIBITIONS IN FRANCE, 2003-2007 (Mistrzowski swiatlocien Rembrandta. Wystawy rysunków i rycin w latach 2003-2007 we Francji)

80%
Chroscicki J. A.
Rocznik Historii Sztuki
|
2008
|
vol. 33
129-134
EN
The text surveys several most important exhibitions of drawings and prints by Rembrandt van Rijn held in 2003-2007, in celebration of the Rembrandt Year of 2006/2007, and reminds some previous ones held after 1945. In France, as in other countries, modern development of research radically decreased the number of drawings attributed to Rembrandt in order to cede it to his disciples and followers. Paris, where Frits Lugt was working from 1921 compiling the catalogues of Parisian collections, and where he bequeathed his own collection to the Fondation Custodia, has again become a place of international cooperation. Peter Schatborn prepared anew the collection of drawings at the exhibition held at Musée du Louvre (October 2006 - January 2007), entitled 'Rembrandt the Draftsman. Collections' Masterpieces in France'. There is also reminded a small exhibition of the drawings from Kupferstichkabinett Staatliche Museen zu Berlin, prepared by Holm Bevers, and exposed in Paris. From among the exhibitions of Rembrandt's engravings the most important was held at the Bibliotheque nationale de France in cooperation with Spain, entitled 'Rembrandt: la lumiere de l'ombre' (Rembrandt: the light of shadow) - November 2005 till the end of February 2006. There was also another exhibition reminded, 'Rembrandt et les peintres-graveurs italiens, de Castiglione a Tiepolo', at the Musée Départemental d'Art Ancien et Contemporain at Epinal.
5

ON THE DRAWINGS AT THE EXHIBITION 'REMBRANDT. DRAWINGS AND PRINTS FROM POLISH COLLECTIONS', WARSAW NATIONAL MUSEUM, 2006 (O rysunkach na wystawie Rembrandt. Rysunki i ryciny ze zbiorów polskich, Muzeum Narodowe w Warszawie, 2006)

70%
Kozak A.
Rocznik Historii Sztuki
|
2008
|
vol. 33
135-151
EN
In the beginning the authoress discusses a question of attributing drawings to Rembrandt and his school in the past. Then the attention is paid to the present tendency of rejecting Rembrandt's authorship in favour of his pupils. Examples of such revaluations in well known European collections have been quoted. The reference is made to the issue of identifying stylistic groups on the example of Carl Fabritius and Willem Drost. Further, a detailed analysis of the changes in attributions of the drawings of Rembrandt and his pupils in Polish collections is given, which resulted from the exhibition 'Rembrandt. Drawings and Prints from Polish Collections' (The National Museum in Warsaw, 2006). First, the collection from the Ossolinski National Institute in Wroclaw was presented. The attributions of six drawings from this collection, formerly published as Rembrandt's have been changed. Three of them were ascribed to Carel Fabritius ('The Triumph of Mordecai' and two versions of the 'Landscape with an Arcaded Bridge'), another one to Gerbrandt Eeckhout ('Pastoral'), another one to Willem Drost ('Susana and the Old Men') and the last one to a Rembrandt's follower ('Thatched Cottage and a Leafless Tree'). The drawing 'Manius Curius Dentatus Refusing to Accept the Gifts from Samnites' from the Print Room of the University of Warsaw Library, previously published under the name of Rembrandt, has been attributed to Gerbrandt van den Eeckhout. The attributions of two Rembrandt's drawings ('Sitting Old Man in a Hat' and 'View of the St. Anthoniessluis') from the National Museum in Gdansk have not been changed. In the National Museum in Warsaw one drawing which formerly had been ascribed to the Rembrandt's school ('Joseph Telling His Dreams') has now been attributed to Aert de Gelder..
6

Borchiana versus Siciliana. Grafa Borha Sicilijas celojums un ta reminiscences literatura un maksla

41%
Taimina A.
Makslas Vesture un Teorija
|
2013
|
vol. 16
5-17
EN
Michal Jan Borch (full name Michal Jan Alois Anton Borch, 1753-1810), christened in Varaklani on 1 July 1753, was a natural scientist and writer whose name is recognized in Europe and inscribed in the history of science. To understand Borch’s personality, it is important to consider his wide scope of interests and education-based competence. He was well versed in classical literature, poetry and history, had studied the basics of botany, physics, mathematics, architecture and land surveying as well as drawing, music and several languages. Borch wrote his works in French in which he was fluent and even Voltaire is said to have praised the young Borch’s mastery of French. His correspondence is also mainly in French, including letters to his father and mother. On an everyday level, the Count communicated and wrote in Polish and German; he also learned English and Italian, and wrote verse in French, Italian and Latvian. Borch had a scholarly interest in natural resources and the population of other countries, very typical of Enlightenment-era nobility and intellectuals. This enthusiasm was fully developed during his research travels. In his early twenties, he toured Germany, France, Switzerland and Italy from 1774 to 1778, and then set out for Holland and England in 1790. He was captivated most by two Mediterranean islands Sicily and Malta, describing them with much fervour. Months spent in Sicily (23 September 1776 - 25 April 1777) provided diverse research material for seven books printed in Italy, which describe the nature of Sicily, Malta and Italy - stones, ancient monuments and people combined with historical, natural and anthropological aspects.
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