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1

La familia Czartoryski y sus vínculos con España con La dama del armiño al fondo

100%
Obtułowicz B.
Estudios Hispánicos
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2013
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vol. 21
145 - 158
EN
The article treats about the Czartoryski family, one of the most prominent families in Poland, which belonged to the circle of the enlightened in the 18th century. In the 19th century, in turn, after Poland had disappeared from the map of Europe as a result of partitions, they undertook various actions aimed at regaining the country’s independence. With a view to starting a museum, Adam Jerzy Czartoryski bought in Italy a magnificent work of art by Leonardo da Vinci, The Lady with an Ermine, which visited Madrid in 2012. In the course of the article, we follow the ups and downs of the painting, as well as the efforts of a few generations of Poles to preserve it till this day. In the second part of the article, we concentrate on the ties of the Czartoryski to Spain, and, above all, on their connections with the Spanish royal family. It is in this context that we talk about, among others, the daughter of queen María Cristina of Spain and her second husband Fernando Muñoz. The daughter in question was María Amparo who married Władysław Czartoryski. We also mention their son, August Czartoryski, who is the only beatified half Pole half Spaniard so far.
2
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Anny E. Popp, Art Historian of the Vienna School: Disappeared and Forgotten?

100%
Vojvodík J.
Slovo a smysl - Word & Sense
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2021
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vol. 18
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issue 38 (Special Issue)
65-84
EN
This essay explores the works of art historian Anny Edeltrauth Popp (1891–?). One of the leading experts of the 1920s and 1930s on Michelangelo and the art of the Italian Renaissance, Popp seems to have disappeared without a trace in 1936. In the years 1919–1922, she published several studies with a distinctive and inventive analytical-hermeneutical approach to art history; the studies themselves deal with Cézanne’s style, Ferdinand Hodler’s compositional principles, Donatello’s relief style, and two artistic methods that have come to be known as Steigerung and Akzentuierung (‘gradation’ and ‘accentuation’) in the art of ancient Egypt.
3
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Mowa symboli i mowa form. Edgar Wind i Leo Steinberg przeciw zeświecczaniu Ostatniej Wieczerzy Leonarda da Vinci

100%
Pawlik R.
Stan Rzeczy
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2015
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issue 1(8)
92-116
PL
Wiosną 1952 roku Edgar Wind wygłosił dla radia BBC dwudziestominutową pogadankę na temat Ostatniej Wieczerz y Leonarda da Vinci („The Listener”, 8 May 1952). Dwadzieścia lat później obszerną rozprawę na ten sam temat opublikował Leo Steinberg („Art Quarterly” XXXVI, 1973). Każdy z autorów skonstruował swoją analizę obrazu zgodnie z przyjmowanym przez siebie rozumieniem zadań historii sztuki. Dla Edgara Winda było nim badanie symboli – odsłanianie zapomnianej lub dziś nieoczywistej ich wymowy. Leo Steinberg skupiał się przede wszystkim na wyjaśnianiu przesłania wyrażonego w języku form. Pomimo różnic podejścia w kilku kwestiach Wind i Steinberg byli zaskakująco zgodni: obaj odrzucili pokutujące od czasów Goethego oświeceniowe przekonanie, że w scenie Ostatniej Wieczerz y religijny temat jest zaledwie pretekstem do ukazania świeckiego w swej istocie dramatu zdrady. Obaj dostrzegli w malowidle Leonarda wyszukaną wizualną sumę chrześcijańskiej doktryny Zbawienia. Obaj starali się zrekonstruować teologiczny składnik odrodzeniowego sposobu percepcji wizerunków. Dla obu wreszcie rzeczywistym celem zwrotu ku teologii była chęć obrony godności sztuki w dobie postępującej jej marginalizacji.
EN
"In the spring of 1952 Edgar Wind gave a 20 minutes talk for radio BBC on the subject of Leonardo’s Last Supper („The Listener”, 8 May 1952). Twenty years later Leo Steinberg published a sizable paper on the same topic („Art Quarterly” XXXVI, 1973). Each of the authors based his analysis of the picture according to his personal understanding of the aims of history of art. For Edgar Wind it was the examination of symbols in order to reveal their forgotten or now no longer obvious meanings. Leo Steinberg concentrated above all on clarifying the message conveyed in the language of forms. In spite of the difference of approach both authors in several important points remained surprisingly unanimous. They rejected the Enlightenment conviction, lingering since the times of Goethe, that in the scene of Last Supper the religious theme is merely a pretext to display a basically secular drama of treachery. Both perceived Leonardo’s painting as an elaborate visual epitomy of Christian doctrine of Salvation. Both took pains to reconstruct the theological component of Renaissance mode of perceiving images in general. And finally for both the real objective of their turn to theology was the desire to defend the importance of art at the time of its increasing marginalization."
4
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Spotkania Józefa Ignacego Kraszewskiego z Ostatnią Wieczerzą, czyli trzy epizody z włoskiej podróży

94%
Chlebowski P.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2015
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issue 2(36)
40-55
EN
The article discusses three ekphrases produced by Kraszewski referring to an execution of one pictorial topic, namely the Last Supper, consecutively the famous work executed by Leonardo da Vinci from Milan, Last Supper at present assigned to Perugino or Perugino’s school (whilst in the mid 19th century it was claimed Raphael’s work), and a fresco by Andrea del Sarto from San Salvi. The writer’s reports are inscribed in his European (or to be more precise, Italian) journey, and preserved on leaves of his Kartki z podróży (Pages from a Journey). The set of the descriptions concerning the grand art subject allows us to recognise a mechanism of description and evaluation of a work of art performed by the author of Stara baśń (An Ancient Tale). The analysed relations are undoubtedly marked by substantive and almost report-like approach. At the same time Kraszewski does not hide away his knowledge and erudition which derived from various specialist as well as fiction and popular editions, e.g. guide books of that time. The circumstances under which the works of art were created, historical and biographical facts concerning the painters, anecdotes and legends, etc. function as not only introductory and preparatory elements but first of all – as an acoustic background of the writer’s account, which makes it sound more fully and louder. Kraszewski does not hide his emotional and subjective approach to the viewed and contemplated by him piece of art, what can be seen at the level of the very description, which despite its substantive and objective form, does not purport to be a complete one as in case of scientific or even popular scientific approach, but also at the level of formulating judgement. These reflections have their basis in an axiological intention, which is born at the moment when the descriptor reveals a crucial sense of a pictorial message. A “literary” or a “semantic” factor becomes an essential one. To a large extent it defines Kraszewski’s style of reception. In case of Sarto’s Supper, where a simple equivalent in a form of a deeper verbalized sense is lacking (as it was not the artist’s aim, he wanted to achieve for instance external beauty or technical proficiency), the judgement and evaluation are strident and clearly negative. Whereas, in case when the sense is the basis of a work of art, the descriptor focuses on revealing it, and subordinates to it all elements of his relation. The sensu stricto literary categories introduced by Kraszewski in his descriptions of works of art by Leonardo and a supposed one by Raphael tend to reveal axiological inside of the reality – motion and life (seen in drama, or even scenic categories), and silence before the storm (in categories of epic order and epic sensitivity).
5

Oblicza przemian w Sztukach Pięknych

94%
Stanny K.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
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2016
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vol. 22: Warunkiem trwałości jest przemiana. Parafrazy, kontynuacje i aluzje literackie
247-258
EN
This paper aims to portray a remarkably diverse range of phenomena related to transformations in art: from the transformation of sculptor’s or painter’s matter into a work of art (on the example of works of Michelangelo and Leonardo da Vinci), through the spiritual metamorphosis of the artist whilst creating a piece, up to reciprocal flow of inspirations, feelings, emotions, and consciousness or its absence on the creation of the artefact that shapes the spiritual xperiences of the audience. While engaging with art, those phenomena can also occur with respect to faith by means of an artistic expression of a purely religious character (e.g. Vatican’s monumental and magnificent architecture). “The aging” of a piece of art or restoration activities that block this aging are examples of changes of the matter owing to the technology that changes the perception of the work over time; while, art devoted to glorifying – and inducing – social evolutions and revolutions is in the service of propaganda and politics (e.g. works created in ancient Egypt, the Third Reich, North Korea, the USSR). Artistic visions often depend on the influences of psychoactive substances on the consciousness of the artist and his perception of reality which results in its completely different reception (Witkacy’s portraits). Is such artistic vision created under the influence of substances objective? Where (if at all) in the modern world can we trace boundaries between art and non-art? This text aims to address and answer these questions and doubts.
6
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Par-eikon: przypadek Ostatniej Wieczerzy

67%
Zarychta A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 14
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issue 23
93-110
EN
The text is an attempt to analyze the evolution of aesthetic forms and motifs discussed on the example of the so-called “great figure” The Last Supper – the starting point for the analysis of the motif is the photography of David La Chapelle of the series: Jesus is my homeboy. Significant here is the context theory of parody by Linda Hutcheon – understood as a central point overview of contemporary art – a phenomenon combining fidelity to tradition and contemporary ideas of creative freedom, to express, among others, in need of confrontation with the ‘classic’ conventions – encroaching and deconstructive also in our contemporary pop-cultural processes of “image-consumption”.
PL
The text is an attempt to analyze the evolution of aesthetic forms and motifs discussed on the example of the so-called “great figure” The Last Supper – the starting point for the analysis of the motif is the photography of David La Chapelle of the series: Jesus is my homeboy. Significant here is the context theory of parody by Linda Hutcheon – understood as a central point overview of contemporary art – a phenomenon combining fidelity to tradition and contemporary ideas of creative freedom, to express, among others, in need of confrontation with the ‘classic’ conventions – encroaching and deconstructive also in our contemporary pop-cultural processes of “image-consumption”. 
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