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1

AROUND THE HISTORIOGRAPHY OF ITALIAN GARDENS: GEORGINA MASSON'S CONTRIBUTION

100%
Azzi V. M.
Rocznik Historii Sztuki
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2009
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vol. 34
25-42
EN
The present article is a changed version of the ‘Introduction' written by the author for a new forthcoming edition of G. Masson's ‘Italian Gardens' (Harry N. Abrams, New York 1961), published in Italian by Officina Libraria, Milano (2010), and in English by Garden Art Press, Woodbridge (2010).
2
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„Eine weite Wohnung unter freiem Himmel“? Zu einer Ästhetik der Sinnesgärten

80%
Diaconu M.
Estetika: The Central European Journal of Aesthetics
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2008
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vol. 45
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issue 2
156-172
EN
Although the common experience of nature and gardens engages all the senses, historical analysis of garden theory shows a clear tendency to reduce green spaces to their imagery and to take the visual arts as the model for garden design. A counter-tendency to this primacy of vision has, however, lately emerged - namely, gardens of the senses or healing gardens, which accentuate also the tactile and olfactory qualities of vegetation and materials. The literature on gardens of the senses provides useful empirical guidelines for garden designers, but on a rather eclectic theoretical basis that applies mainly to private 'jardins de plaisir'. Nevertheless, the accentuation of tactile and olfactory qualities in gardens constitutes a source of well-being, and contributes to a deceleration of life, a positive experience of the natural order and rhythm, and the habitability of a place. Moreover, they are informal laboratories for the education of the senses, and their empirical taxonomies may be integrated into an aesthetic theory of sensory design.
3

Muzyka w ogrodach wrocławskich

80%
Zduniak M.
Prace Kulturoznawcze
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2012
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vol. 13
135-143
EN
Wrocław’s musical life became particularly intense in the late 18th century, a process that lasted throughout the 19th century. Music became increasingly present in the public life of the city residents, also owing to the numerous musical ensembles (bands and orchestras) giving open-air performances of popular music, mainly in gardens and parks. Inns with gardens sprang up in the suburbs and for a long time they remained a model of entertainment venues in which cuisine was combined with music. Their activities were a counterbalance to high art presented in churches, theatres or concert halls. Garden entertainment and leisure grounds for the general public played an important role in the social and cultural life of the city. The present author examines this phenomenon in a historical context, taking into account source material in the form of surviving press articles, concert programmes, memoirs as well as iconographic material. She describes the repertoire, the performers and the customs associated with open-air concerts.
4

THE GARDEN OF ARCADIAN ARMIDA - HELENA RADZIWILLOWA (Ogrod Armidy arkadyjskiej - Heleny Radziwillowej)

80%
Grzybkowska T.
Rocznik Historii Sztuki
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2010
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vol. 35
5-42
EN
In 1778 at Nieborów, five kilometres from her palace, Helena Radziwillowa (1753-1821) had a landscape park in the English taste made for her which she called Arcadia. The park was based on the Attic myth popularized by Virgil, revived in the Renaissance period by Tasso and Ariosto, and widespread in the English literature and parks of the late 18th century. Radziwillowa assumed the name of Armida, the heroine of the epic Gerusalemme Liberata (Jerusalem Delivered) by Torquato Tasso. Armida's garden was to be a refuge from the world's worries. Park's buildings: Temple of Love, Archpriest Sanctum, Gothic House, Sybil's Grotto, Burgrave's House, then Circus and Amphitheatre, were surrounded by thick vegetation. There was a Sepulcher on the Poplar Island with an inscription: Et In Arcadia ego, and nearby was a Grave of Illusions, erected to the memory of three Radziwillowa's daughters who died young. The forms of the nature and follies were influenced by the ideas of love, eroticism, friendship, the cult of reason, of happiness and self-improvement, but also thoughts of elapsing time and death. All the threads were united by the ancient tradition and a Freemasonic idea, reconciling apparent contradictions. It was Radziwillowa herself who decided on the shape of her Arcadia and the way to visit it, described in a special guide published in 1800. Arcadia of the Polish Armida was a sovereign area of equivocal meanings, it adopted the symbolism of Armida's enchanted garden, garden collection, garden of love, island of the death, it concealed Masonic ideas, and was the meeting place of high society.
5

HISTOIRE DES JARDINS. QUELQUES POINTS DE METHODE

80%
Baridon M.
Rocznik Historii Sztuki
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2009
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vol. 34
13-24
EN
The author presents a resume of his approach to the history of gardens. He fully described his in the book ‘Jardins. Paysagistes, jardiniers, poetes' (1998). He finds such interpretative perspectives as structuralism or psychoanalysis to be too ahistorical and too general to cope with the phenomenon of the garden while those which aim at discovering sources of artistic inspiration seem to him to be unable to grasp the individual and singular character of every garden. Therefore, he confronts particular gardens with human sciences, science and technology. Being interested in garden as a representation of nature, he studies three great traditions: the Chinese, the Arabian and the European one. As a consequence, the history of garden turns into social history of culture which describes on the one hand causes and circumstances in which gardens were created, and on the other – intellectual currents and changing concepts of the world. The premise is that the evolution of sciences and epistemology influences to a great extent on how the world is conceived of and represented as a garden. There are two factors more that have to be taken into consideration: changing sensibility and different fashions of psychological attitude toward gardens. The author suggest that research on the history of gardens requires an interdisciplinary approach that constantly crosses the borders between science, technology, art and literature.
6

THE GARDEN OF ARTIST, POET, THINKER. THE TERRITORY OF CREATION (Ogród artysty, poety, mysliciela. Terytorium tworzenia)

80%
Pienkos A.
Rocznik Historii Sztuki
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2009
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vol. 34
171-198
EN
The garden of the 'artist's house' (artistically created home of a writer, painter, or musician) could be examined in the categories of gardening history, searching for references to typical models or solutions. We know of the influence of gardens of various artists on the solutions introduced in the art of gardening (for instance Alexander Pope or William Shenstone). More often gardens of this type are governed by rules of individual creativity, they have no specific traits and as a rule they do not belong to the history of gardening. From antiquity through Renaissance a garden brought to mind meditation and creation. More than a house it would be the figure/prefiguration of a place of creation and the product of a creation act. It is this role it plays in the 'Mémoires d'Outre-Tombe' by Francois-Rene de Chateaubriand and numerous comments by other writers. Garden as a 'microcosm' makes us redefine the notion of creation. Some of the 'gardening acts' elude thinking in the categories of gardening object. Garden as a place of important rituals can be found especially in the communes from the turn of the 19th and 20th century. Such kind of 'gardening acts' in their anthropological dimension are of crucial importance for understanding the character of the place of creation and the whole artistic activity of an artist. Regardless its size, form, relation to the artist's home, the garden is given a special assent. An artist's grave in his garden should be considered in the same categories. For Carl Linnaeus, Buffon, Voltaire, Goethe, later on also for John Ruskin, gardens were a testing ground in various fields of their scientific and artistic creativity. Claude Monet's creation at Giverny was developed in two inseparable orders: a garden 'was growing for' a painting. Around the same time, yet with no Monet's consistency, made their own gardens and then painted them also Jozef Mehoffer, Max Liebermann, HeinrichVogeler, Edward Atkinson Hornel, or Emil Nolde. The history of gardening as the element of a representative place of artist's residence could be presented in the categories of the history of gardening forms as well as a social history of art. This function is served by gardens in the residences of Peter Paul Rubens, Nicodemus Tessin the Younger, Charles Le Brun, and then later of Franz von Lenbach, Vincenzo Vela, Richard Wagner. Drawing upon the models from the 16th through the 18th centuries, Francis Poulenc, Edmond Rostand and Edith Wharton made their own gardens, nevertheless, with reference to their main field of creativity. A theme of Italian Renaissance inspirations belongs to the most important research tracks to follow when interested in the gardens of the 19th- and 20th-century artists. A 'locus amoenus' could have assumed the form of microcosm, full of personal or historical associations, relating to the interests of the artist. The gardens of Gabriele d'Annuzio, Axel Munthe, Anders Zorn, Vicente Blasco Ibanez became mainstays of private history of culture, characteristic of post-romantic trends.
7

GARDEN COMPLEX OF THE HERRENCHIEMSEE PALACE. PRESENTATIONS OF VERSAILLES GARDENS IN THE ARTISTIC PATRONAGE OF KING LUDWIG II OF BAVARIA (Polish title - below)

80%
Zielinski D.
Rocznik Historii Sztuki
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2009
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vol. 34
109-133
EN
(Title in Polish - 'Zalozenie ogrodowe palacu Herrenchiemsee. Motyw ogrodów wersalskich w mecenacie artystycznym Ludwika II Bawarskiego'). In the last accomplished edifice built on the initiative of King Ludwig II of Bavaria - the Herrenchiemsee Palace, the gardens were a very special and important part. Commonly called the Bavarian Versailles, the 'Temple of Fame' for King Louis XIV of France and the absolute monarchy, is mostly based and modelled on its archetype. Unlike the palace itself, there were only three projects for the gardens, designed by the chief gardener of the court, Carl von Effner. In 1882, the creation of the surroundings began. The financial problems and sudden death of the King in 1886 hindered the plans. A decision was made to finish only the most essential works. The accomplished and most important part of the gardens is on the western side of the palace. It features water parterre, the Cabinet of the Dawn and Diana Cabinet, Parterre of Latona, Tapis Vert, the Pool of Apollo, and the canal connected with the lake. This part is almost entirely modelled on the Versailles garden complex of King Louis XIV and its decorations created by Andre Le Notre and Charles Le Brun. Except for the part of the gardens that marks the western landscape axis nothing else was constructed. On the eastern side of the palace it was planned to situate the bosquets and garden parterres .The dense forestation of the completed part of the garden shut it from the surroundings. The other, not accomplished parts of the garden, were supposed to include alleys, bosquets, parterres, fountains and sculptures, modelled mainly on the Versailles. The symbolism of all the other elements of the park, both the accomplished and only the planned ones, is partly related to the solar-cosmological themes of the Versailles complex which is a kind of microcosm, where King Louis XIV depicted as god Apollo was the only ruler. This symbolism is reflected in the location of the palace according to the sides of the world, the central axis as a symbol of the way the Sun goes. The Bavarian monarch rejected following patterns of the garden complex of the near-Paris residence in its 19th-century condition. The genius of Le Notre revealed in Versailles reveals in the accomplished part of Herrenchiemsee gardens only partially. However, the parts that were never made had a great potential. The Versailles gardens were for King Ludwig II not only a place of leisure and symbol of the residence of the Sun King, but an important place for numerous court ceremonies of those times. Numerous sculptures decorating the interiors of the Herrenchiemsee Palace, as well as of his Linderhof Palace (with its gardens), were inspired by and modelled on the Versailles ones.. Particularly important in this context are the features derived from the Versailles gardens and introduced into the interior décor of King Ludwig II's palaces - at Herrenchiemsee and Linderhof; for instance, a porcelain service dedicated to King Louis XIV or numerous elements from theatre performances specially prepared for the Bavarian King. The king's involvement in the planning of the Herrenchiemsee Palace with its garden complex and also in some other similar projects resulted from his profound historic knowledge.
8

ON THE FORMATION AND CONDUCT OF GARDEN HISTORY

80%
Hunt J. D.
Rocznik Historii Sztuki
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2009
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vol. 34
5-11
EN
The author states that garden history has established two unavoidable trajectories. The first is the investigation of the design and formal evolution of individual sites; this involves land holdings, patronage, available design skills and above all a focus upon formal moves, usually drawn first on paper and then transferred onto the ground. Art and architectural historians found this approach congenial and even familiar. The second trajectory sought to elucidate why sites were created in those ways: what were the motives of patrons, the education and inclinations of designers (including their knowledge of earlier forms), all of which tended towards a focus upon the meaning that a designed site held for its original creators and owners. Philosophers, historians of science and literary critics were particularly drawn to this mode of history. Both those approaches privileged the design of original sites, but what they did not generally seek to understand was how subsequent generations saw or (perhaps) remodeled the original designs. Garden history has been growing and developing rapidly over the last 30 or 40 years. The range of the subject along with the sheer quantity of work now produced in the larger history of landscape has increased by leaps and bounds. One must acknowledge here the considerable contributions – in both number and intellectual thrust – that have emerged in Europe (France most prominently, but Italy also) from a whole range of landscape architects, philosophers, geographers, and cultural commentators and historians of all sorts. Recognition of the ineluctably multi-disciplinary nature of garden historical enquiry, and the contributions to the subject therefore from an increased number of specialists in other fields, make every new endeavour potentially more challenging.
9

GARDEN BY THE HOUSE. MODEL SOLUTIONS AT SILESIAN EXHIBITIONS IN THE NINETEENTH AND THE FIRST HALF OF THE TWENTIETH CENTURY (Ogród przy domu. Modelowe rozwiazania na wystawach slaskich w XIX w. i pierwszej polowie XX stulecia)

70%
Binkowska I.
Rocznik Historii Sztuki
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2009
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vol. 34
135-169
EN
The art of gardening became an exhibition theme very early, but it began to be treated as a subject only at specialised exhibitions; first such exhibition in Silesia was held in Wroclaw (Breslau) in 1845. The present article pays attention to the model garden or park around the house or residence. Initially, it was a scenic park that was promoted (Wroclaw exhibitions of 1869, 1872 and 1878). Soon the focus was on the reconstruction of its most representative, decorative and attractive parts: pleasure ground (flowerbeds, flower baskets, carpets and tubs, etc.), thematic gardens (exotic, mountain, one-species etc.), visible at the exhibitions in 1881, 1886 and 1892. Exotic compositions, originally in the form of winter gardens (the very first time in 1852), with the lapse of time were prepared in open space. The artistically richest and largest was a Japanese garden founded by Friedrich von Hochberg and laid out by Josef Anlauf in 1913. Previously, a similar exotic garden was made by F. Stämmler at Legnica (Liegnitz) in 1905. In consequence of historicism was an interest in old times gardens. Six gardens in a spirit of old ages, from the Middle Age to Empire were implemented by: Professor F. Rosen (whole plan, naturalist Th. Schube (historical plant cover), gardener F. Hanisch and architect Th. Effenberger. The project became a pretext for the discussion of the possibility to reconstruct a work of the old art of gardening. From 1904, the exhibitions became a place to look for a new type of a garden adjoining to the house that would replace a scenic park in its 'degenerate' form and fulfil the expectations of modern users. The search for alternative solutions was accompanied with an increasing influence of the British art of gardening (the Arts & Crafts movement) which led to a new attitude towards vegetable materials and to the creation of three new models of garden. The outstanding architect Hans Poelzig and gardener Paul Dannenberg proposed a country garden by a new type of a house (Landhaus). In 1913 gardens of Stanke and P. Hauber referred to the models of early modern gardens that balanced in their compositions usable and decorative parts. Towards architectonic gardens were inclined Peuckert, Reifegerster and Seidel - the authors of layouts in garden-towns Karlowice (Karlowitz) and Brochów (Brockau). A. Menzel was the only one who drew from the modern American art. These two latter tendencies dominated at interwar exhibitions (the GuGALi at Liegnitz in 1927 iand WuWa in Breslau in 1929) in the form of ascetic modernistic gardens designed by E. Vergin, P. Hatt, K. Schutze, J. Schutze and F. Hanisch. With time, there is a change to be seen in the organisation of exhibitions that began to be treated as the area of commercial, propaganda and political activities aimed at a mass consumer audience rather than a narrow social elite. Such was the purpose of the GuGALi organisers and its main designer G. Allinger.
10
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Červené Poříčí, zámek a park v krajině

70%
Ryšavý V.
Historická geografie (Historical Geography)
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2009
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vol. 35
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issue 1
249-265
EN
The article focuses on the castle garden in Červené Poříčí (West Bohemia) and comprises also pictures some of which are the naive original paintings made by the demesne administrator; summarizes all so far known important information regarding the history of the construction and furnishing of the castle and the castle garden in Červené Poříčí.
11

FREEMASONS' GARDENS IN POLAND AT THE TURN OF THE EIGHTEENTH AND NINETEENTH CENTURIES (Ogrody wolnomularzy w Polsce na przelomie XVIII I XIX wieku)

70%
Zaleski K.
Rocznik Historii Sztuki
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2009
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vol. 34
95-107
EN
In the 18th century England gave Europe at least two things worth noticing: scenic parks and speculative freemasonry. Under the influence of freemasonry architectural symbols gardens were built in which the landscape architecture, to be read only through a freemason key by circle of initiates, was to mirror and inspire natural, and not absolutist political models. The symbolism referred mainly to the building of the Temple of Solomon, and the structures were given not only classicistic or neo-Gothic character but also Egyptising one. Making a ritual initiation journey, and then following the paths of an English garden, the initiate was to go through mental moral education. Masonic spiritual aim was to create an ideal society, not through reforms of the state but through the perfection of individual beings. For a long time the researchers interested in history of gardens have attempted to unravel the hidden symbolism. The problem is complex, since freemasonry, although it referred to very old traditions, was a child of its times and as such, in its writings and its symbolism drew from Enlightenment ideas so profusely that it makes it extremely difficult to explicitly interpret works of art. It is to be seen easily when we compare a project of a monument dedicated to Jean-Jacques Rousseau and a stricte Masonic engraving, where many elements are the same. Such research has been undertaken more and more often also in Poland. The article presents briefly the most important garden realisations in the territories of the old Polish-Lithuanian Commonwealth, where the associations with freemasonry could have been perceived, including those built within the circle of artistic patronage of Helena Radziwillowa and Izabela Czartoryska (both belonging to the Adoptive Lodge of 'Charity' - Dobroczynnosc). Radziwillowa created at Arkadia, and Czartoryska at Pulawy, and before that at Powazki - the gardens that were outstanding achievements in this field, immortalized by Jacques Delille in his poem Les jardines.
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