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1

SELBSTBILDNIS VON BACCIO BANDINELLI AUS DEM SCHLOSS JABŁONNA BEI WARSCHAU

100%
Zuchowski T. J.
ARS
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2015
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vol. 48
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issue 1
37 – 48
EN
The study presents an analysis of a relief bust from the manor house Jabłonna near Warsaw with the self-portrait of the famous Florentine artist Baccio Bandinelli. Based on a thorough research of the work of art the author dates its origin back to the years 1555 - 1559, integrating it with some self-portraits of the artist from Florence and Strasbourg. He also points to formal features of the relief, which are also characteristic for Bandinelli’s marble slabs for the chancel in Florentine Santa Maria del Fiore (today Museo dell‘ Opera del Duomo). A special issue, which the author raises, are the circumstances that led this work to Poland. The existing sources offer two hypotheses.
2

CYPRIAN NORWID'S ENCOUNTERS WITH PHOTOGRAPHY

100%
Melbechowska-Luty A.
Rocznik Historii Sztuki
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2006
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vol. 31
77-86
EN
Cyprian Norwid (1821-1883), an outstanding Polish poet, prose writer, thinker, but also a draughtsman, painter, sculptor and graphic artist, commented several times on the role and importance of photography. In 1854 he turned his attention to the 'phenomena', which were the inventions of the 19th century (albeit in accordance with his historical thinking he believed that many of them had been invented and described long ago). He accepted photography and its benefit, appreciating the advantage of a true-to-life picturing of people and things and preserving the memory of them. Norwid himself posed for a photograph several times and, like in his self-portraits, in this way he deliberately created his image himself. In 'Black Flowers' (Czarne Kwiaty), with a 'daguerreotypic pen' he recalled the memories of those who were close to him (among others Fryderyk Chopin, Adam Mickiewicz, Juliusz Slowacki). From the well-known Warsaw company of Karol Beyer he used to get the 'calling cards' of his friends and acquaintances. He also collected the photographs from all around the world for his 'Orbis Album in Draft' devoted to the history of civilisation, which at the same time was his 'artistic portfolio'. With reference to painting art, Norwid thought that the recent invention of daguerreotype would certainly influence memory and art, but would also outdo a simple, sensitive vision, that is impression, and that was why man had to turn towards expression, which was a 'working out the impression in our hearts'; from this angle he examined the paintings of, for instances, Gustave Courbet and Leon Kaplinski. Although Norwid considered photography as a valuable medium and technical help for painters, yet never he made equal its advantages with the ethos of the fine art, with a spiritual creative act and inner experience of an artist, which he always placed on the highest registers, because 'only a percent of feeling of contemplation could be painted', and 'no photographer could replace a true sketch'.
3

ELUSIVE PAINTING BY REMBRANDT. GEORG SIMMEL'S PHILOSOPHIC ATTEMPT TO INTERPRET THE OEUVRE OF THE DUTCH MASTER (Nieuchwytny obraz Rembrandta. Georga Simmla filozoficzna próba interpretacji oeuvre holenderskiego mistrza)

100%
Rosales R. A.
Rocznik Historii Sztuki
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2008
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vol. 33
247-258
EN
The purpose of this paper is to present and analyze the interpretation of Rembrandt's art in the thought of the German philosopher and sociologist Georg Simmel (1858-1918). His essay 'Rembrandt. Ein kunstphilosophischer Versuch' (Leipzig 1916) is an example of the postromantic reception of work of the 17th century painter in Germany, especially in the intellectual and artistic milieu of Berlin, where he participated in the course of art history and spent many years since 80. of the 19th century till 1914. Simmel - a friend of Rilke, Weber and Rodin - took part in the discussion on the modern culture and society. At the highest point of the worldwide interest in Rembrandt's art and life and at the crucial moment of scientific research on his work and professional connoisseurship, created Simmel a sketch, which is - in the method of description an amalgam of art philosophy and critics. Simmel's ahistorical interpretation, focused on Rembrandt's portraits, was an illustration of his philosophy and its main category of life (Leben). In the opinion of the German philosopher the Dutch artist found a way to express the absolute continuity of life. On the contrary to the timeless and abstract beauty of classical and renaissance portraits, Rembrandt's effigies were distinguished by an intimate depiction of the human existence and a new kind of narration, opposed to the Lessing's idea of fruitful moment. Rembrandt regarded as a painter who caught the stream of life was to achieve the greatest results in the portraits of old people, in particular his self-portraits. The artist, compared by Simmel with Titian, found an artistic form which was adequate and close to life in the 'painterly', wide manner of painting, exposition of colour and specific unfinished (Unendliche) of the work. Some of Simmel's ideas had however an anticipation in earlier historiography. The critical and esthetical context of his categories is analyzed in this article. Simmel's essay on Rembrandt's painting is an interesting trial of creating a new ideal of modern art existing beyond the classical norms. According to Simmel's discourse art is able to recover the lost spiritual unity of the human being, who cannot find in life.
4

Kurzemes hercoga galma galdnieka Tobiasa Heinca lasampults: Makslinieka pasapzinas veidosanas atspogulojums Latvijas maksla

88%
Grosmane E.
Materiali Latvijas makslas vesturei
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2012
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vol. 8
45-54
EN
This article attempts to analyse the self-portrait found on the lectern of Jelgava Holy Trinity Church, produced by Tobias Heintz (1589-1653), court carpenter to the Duke of Courland. Recently interest has grown in this slightly forgotten phenomenon, unique in Latvian and Estonian art history. The lectern donated by Tobias Heintz in 1617 was located in the choir of the Holy Trinity Church till the Jelgava Cultural-Historical Exhibition in 1886. After the exhibition it was relocated in the Courland Province Museum (Kurländisches Provinzialmuseum) but during World War II moved to Posen (now Poznań) when it ended up in the collection of the Baltic German cultural heritage. In 1945 the lectern was included in the collection of the Museum of Wielkopolska and exhibited in the Applied Art Department of the National Museum in Poznan. Now it is being returned to Latvia to be exhibited in the reconstructed Holy Trinity Church tower in Jelgava. The article analyses the Jelgava carpenter’s self-portrait in the context of general art history and the art history of Latvia in particular. On the European scale, this work coincides with the spread of Baroque tendencies as well as with the rise of the portrait and self-portrait genres. Considering Heintz’s image in the context of inlay technique, only one self-portrait has been found so far, that of the woodcarver and inlay master Antonio Barili (1502) at work set into the choir bench of Siena Cathedral Baptistery. Ideas of a different epoch predominate in this work, expressing the self-esteem and seriousness of a Renaissance artist with the air of the classical art heritage present. Tobias Heintz’s version had emerged a hundred years later; it is more pretentious with the young master emphasising his youth, health and future success, creating an image of a self-confident individual whose best time is yet to come. In conclusion, one can state that, from the art-historical viewpoint, Tobias Heintz’s self-portrait on the Jelgava Holy Trinity Church lectern is not just an autobiographical document, a message to contemporaries and future generations but also the oldest identified self-image in Latvian art history.
5
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Autokreacja jako zamazanie umysłu

51%
Bobrowska E.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2019
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vol. 27(27)
126-145
PL
The analysis in the text presented concerns the phenomenon of self-cre- ation and self-perception, referring Paul de Man’s contemplations in the Autobiography as De-facement study, as well as early monography by Em- manuel Levinas, From Existence to Existents. Self-creational and autobi- ographical statement or action reveal moments in which a certain mul- tithreading is exposed, a tear, which becomes a basis for the analysis of works by Chuck Close, Yves Klein, Cy Twombly and Marina Abramović. Self- perception and self-introspection lay at grassroots of thinking and artistic creativity, and in a way also self-mythology of solipsistic ego. By creating a self-portrait the artist duels oneself in a most difficult self-creative clash. Impersonal “I” as another form of revealing “I”, it exposes through, among others, vigil and insomnia as a particular state of mind, similar to de Man’s “blurring” of the mind described by me.
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