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1

Rękawiczki z portretem Tadeusza Kościuszki w zbiorach Muzeum Narodowego w Krakowie

100%
Paś M.
Kwartalnik Historii Kultury Materialnej
|
2011
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vol. 59
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issue 2
217-224
EN
Since 1891 the National Museum in Cracow has owned a pair of woman’s gloves decorated with a portrait of Tadeusz Kościuszko. The gloves were sewn by hand from lambskin (?) with silk thread. The right glove is decorated with a tondo with a copperplate portrait of Tadeusz Kosciuszko in left profile, showing him raising a sabre with the inscription: “Death or Victory”. Under the tondo there is a signature reading: J.[ózef] Łęski sc. [ulpsit] Varsaviae 1794, and underneath: “Let me once again fight for the Fatherland / TADEUSZ KOŚCIUSZKO / The Highest Commander of the armed forces of / THE POLISH NATION. The left glove is decorated with a copperplate engraved inscription: “A keepsake for a patriotic collector”, surrounded with a wreath of laurel and palm leaves (?) tied in a bow. A meticulous analysis of historic records and iconographic sources has uncovered the model of Kosciuszko’s portrait and the circumstances of producing the gloves. After the outbreak of the Kościuszko Uprising in March 1794, a violent battle took place in Warsaw on the 17th and 18th of April, as a result of which many inhabitants lost all their property and were left with nothing to live on. The municipal authorities initiated a collection of money which was conducted in Warsaw churches by ladies of noble and burgher families. The collection was commemorated with gloves. The originator of this idea was probably Reverend Onufry Kopczyński. The commemorative gloves were probably manufactured in Michał Grosse’s workshop and Kosciuszko’s portrait was most likely prepared by the engraver Jabłoński. It is certain that 82 pairs of such gloves were made. The pair kept in the National Museum in Cracow, which probably belonged to Anna Krajewska, is the only one surviving.
2

HOW TO SEE ARCHITECTURE (IN GOMBROWICZ AND OTHER MODERNIST AUTHORS) WHEN IT IS BEING READ?

51%
Lesniakowska M.
Teksty Drugie (Second Texts)
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2005
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issue 3(93)
38-57
EN
This article is the first-ever analysis of Gombrowicz's (and other modernist authors') liaisons with architecture in the history of Witold Gombrowicz scholarship. The authoress inspects into these issues from the standpoint of so-called critical history of art, which positions her paper also within the area of methodological issues and new trends in studies of arts. In her opinion, absence of questions regarding Gombrowicz's connections with architecture, the topic being absent/precluded from literary scholars' papers, has to be deemed a 'significant omission'. The question about a 'presence' of architecture in Gombrowicz has been based on an assumption that any work of art offers a model for recognising something, an epistemology of some sort. Attempt has been made at replying to the question about the actual place of architecture in Gombrowicz's aesthetic and/or ethical system, and about the role he has programmed for it in his texts. Gombrowicz was namely positioning architecture in the 'zone of a subculture', of 'secondary forms'. In his concept of architecture as a secondary form, a structure of mythology and a repressive effect of the myth become revealed. Thus, architecture is perceived as a language, as a 'meaningful' fact, a narration that 'projects' the internal space, in line with the rules (cultural and iconographical) of permanence of pose and attribute. In Gombrowicz's discourse, architecture as a representation becomes one of his masks, a crypto-text. This is how it might be 'seen' whilst being 'read', the authoress concludes.
3

Śląska tożsamość kulturowa okresu średniowiecza na przykładzie architektury i sztuk plastycznych

51%
Kaczmarek R.
Śląski Kwartalnik Historyczny Sobótka
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2012
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vol. 67
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issue 4
163–169
EN
The cultural identity of architecture and visual arts of the Middle Ages in Silesia can be analysed through the following criteria: 1) distinct formal features of local artworks; 2) specific content expressed through it. Macro factors (availability and type of materials) are important in architecture, as are architectural patterns and styles. Most frequent in this context are brick buildings, with sandstone used for details. In the 14th century distinct and formal patterns of style in architecture took shape (such as the basilica form of town churches), same with detailed construction and aesthetic solutions in walls and vaults. The factors shaping the specific nature of Silesian art are the influence of dominant styles (initially from the Czech state, later southern Germany, including Nuremberg), political contexts (affiliation with the Bohemian Crown) and religious (mostly choice and popularity of patron saints).
4

Sztuka i rzemiosło artystyczne na Śląsku w latach 1526-1740 jako czynniki spajające i dezintegrujące region w dobie nowożytnej

51%
Oszczanowski P.
Śląski Kwartalnik Historyczny Sobótka
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2013
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vol. 68
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issue 2
109–127
EN
The issue of Silesian art is a methodological matter, one which the scholars are studying for nearly a century. Results of research reinforce the belief that Silesian art – especially at the end of the 14th and beginning of the 15th century, as well as in the Baroque – formed distinct qualities determining it’s unconventional worth, allowing it to be included with the artistic achievements of the continent. An attempt to answer which factors shaped the identity of the early modern Silesian art leads to two groups of factors, specifically cohesive and disruptive. Among the cohesive factors are historical events, the Catholic-Lutheran conflict, which, in Silesia lasted all through the Early Modern Period. Also of importance was the tradition of the Middle Ages and the availability of materials used by local artists (e.g. glass, sandstone). Among these works of particular importance are the workshops creating for the Cistercian monasteries (in Lubiąż, Krzeszów, Henryków, and Trzebnica). This resulted in the creation of a distinct mystic trend. It was associated with the development of Silesian iconographical tradition, e.g. in the local portrayal of saints and religious imagery. Among the factors disruptive to the artistic identity of Silesia is being a part of common artistic tradition (the western civilisation) and ideological (Christianity). This led to universal content of both lay and religious artworks. Silesia’s location at the hub of many transportation routes as well as on the border between two large states made it an area, which “absorbed” external influence. Silesian art became a universal „product” due to its dependence on external sources, rules imposed by a specific monastic order as well as rules of the authorities.
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