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What do the Potockis need an art collection for, namely on the Art Collecting in the Potocki Family exhibition at the Museum of King John III’s Palace at Wilanów

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Gołąbek M., Paprocka-Gajek J.

Muzealnictwo

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2023

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vol. 64

170-179

EN

It is the assumptions, goals, and effects of the new permanent display mounted at the Museum of King John III’s Palace at Wilanów titled Art Collecting in the Potocki Family that are the topic of the present paper. The Exhibition presents a less known fragment of the Wilanów Palace’s history when it was owned by the Potockis: Aleksandra née Lubomirski and Stanisław Kostka, their son Aleksander, and grandson August and his spouse Aleksandra née Potocki. The three generations of the Pilawa-coat-of-arms family wrote a new, albeit extremely important chapter in the history of the former royal and magnate residence, placing in it the Museum of Art and the Memorial Site of the history of the Polish nation for almost a hundred years The Potockis amassed artistic collections and national mementoes, and introduced changes to the layout of the private spaces of the residence in order to adjust them to serving museum purposes. In harmony with the Potockis’ idea, the systematically growing collection turned into a treasure opened to the general public. It is the first entry in the Wilanów Guest Book: 5 August 1805 that is regarded to have been the launch of the Museum’s public operation. In its narrative and layout the new display refers to the Potockis’ Museum. The interiors of the garden gallery on the Palace’s first floor have been transformed according to ico -nographic records from the 19th and early 20th century. In the southern gallery we remind of the Library once functioning here, in the northern one, in turn, we recall Warsaw’s important cultural event from 1856: Exhibition of Antiquities. As a result of the introduced changes new display spaces have been created: the Historical Cabinet, Print Cabinet, and the Iconographic Cabinet. The first is dedicated to national mementoes, whereas the latter two are cosy display rooms of objects on paper.

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"Co kde mezi ruskou emigrací zůstalo krásného, to vše sem pietně sneseno." Výtvarná sbírka Ruského kulturně-historického muzea na Zbraslavi (1935-1945)

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Hauser J.

Umění (Art)

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2019

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vol. 67

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issue 1-2

26-46

EN

The Russian Cultural-historical Museum, located in the Zbraslav Chateau in the years 1935–1945, is an important phenomenon of the history of emigration from the territory of the former Russian Empire. The motivation for the establishment of this institution, initiated by the Tolstoyan writer Valentin Fyodorovich Bulgakov and founded under the canopy of the Russian Free University in Prague, had roots in the widely implemented concept of emigration as the bearer of authentic Russian culture, the continuation of which was only possible outside the Soviet Union. The need for the continuity of prerevolutionary culture was reflected in the efforts to define its principles and also to collect documents of the activity of Russian communities in exile. This approach was also projected into the form of the art collection of the Zbraslav Russian Museum, which did take shape to a considerable extent by chance, but nevertheless its composition — especially after Bulgakov’s acquisition trip to Paris in 1937 — showed a clear attempt to present primarily the work of artists whose names had entered general awareness already on the art scene of pre-revolutionary Russia and who belonged in part to the circle of the group known as Mir iskusstva (World of Art). The activity of the museum gradually intensified with the establishment of a separate architecture gallery and the opening to the public of a room dedicated to the work of Nikolai Roerich and culminated before the outbreak of the Second World War in the publication of an ambitious catalogue entitled Russkoye iskusstvo za rubezhom (Russian Art Abroad). The article deals with the formation of the museum’s art collection, its acquisition strategy and the development of exhibitions up to the time when the museum was moved out of the Zbraslav Chateau, the effort to reconstruct a smaller version of the museum in the building of the Soviet Secondary School in Prague at Pankrác and the subsequent export of its collection to the Soviet Union, where the original Prague collection was in part divided up among several collection-forming institutions and in part lost. It traces the role played by Valentin Bulgakov in these events and also mentions the problematical reflection of the theme in contemporary Russian-language historiography.

CS

Ruské kulturně-historické muzeum, sídlící mezi lety 1935–1945 na zbraslavském zámku, je významným fenoménem dějin emigrace z území bývalého ruského impéria. Motivace pro vznik této instituce, iniciované tolstojovcem a spisovatelem Valentinem Fjodorovičem Bulgakovem a založené pod hlavičkou pražské Ruské svobodné univerzity, měla kořeny v široce uplatňovaném pojetí emigrace jako nositelky autentické ruské kultury, jejíž pokračování bylo možné právě jen mimo Sovětský svaz. Potřeba kontinuity předrevoluční kultury se odrazila ve snahách definovat její kánon a právě i v úsilí shromažďovat doklady činnosti ruských exilových komunit. Tento přístup se promítl i do podoby výtvarné sbírky zbraslavského ruského muzea, která se sice formovala do značné míry nahodile, přesto však na jejím složení — zejména po Bulgakovově akviziční cestě do Paříže roku 1937 — byla patrná snaha prezentovat primárně tvorbu výtvarníků, jejichž jména vstoupila do obecného povědomí již na umělecké scéně předrevolučního Ruska a kteří patřili z části k okruhu skupiny Mir iskusstva (Svět umění). Činnost muzea zintenzivnila postupně založením samostatné architektonické galerie a zpřístupněním sálu věnovaného tvorbě Nikolaje Roericha a kulminovala před vypuknutím druhé světové války vydáním ambiciózního katalogu s titulem Russkoje iskusstvo za rubežom (Ruské umění v zahraničí). Článek se zabývá formováním výtvarné sbírky muzea, její akviziční strategií a vývojem expozic až do vystěhování muzea ze zbraslavského zámku, úsilím o obnovu menší verze muzea v budově sovětské střední školy v Praze na Pankráci a následným vyvezením jeho fondů do Sovětského svazu, kde byla původní pražská sbírka částečně rozdělena mezi několik sbírkotvorných institucí, částečně ztracena. Sleduje úlohu, kterou Valentin Bulgakov v těchto událostech sehrál, a zmiňuje i problematickou reflexi tématu v současné ruskojazyčné historiografii.

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Przebieg postępowania kasacyjnego w opactwie norbertanów przy kościele św. Wincentego we Wrocławiu w świetle Akt Büschinga ze zbiorów Biblioteki Uniwersyteckiej we Wrocławiu

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Bończuk-Dawidziuk U., Wojtyła A.

Hereditas Monasteriorium

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2014

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vol. 5

331-367

EN

The present transliteration of source material dealing with the Premonstratensian (Norbertine) Monastery of St. Vincent in Wrocław is based on archive documents preserved among the so-called Büsching Papers, a collection of bound volumes kept in the Wrocław University Library and documenting the secularisation of Silesian monasteries in 1810–1812. It complements the transliteration of two extensive archive documents associated with the Wrocław Premonstratensian Monastery (report and inventory), published in the previous volume of Hereditas Monasteriorum. The current volume presents a transliteration of the remaining 37 documents of the Büsching Papers dealing with that monastery: – correspondence (originals or copies of letters) between the secularisation commissioner Johann Gustav Gottlieb Büsching (1783–1829) and the Central Secularisation Commission (Haupt-Säkularisations-Commission zur Aufhebung der Stifter und Klöster in Schlesien), copies of some Büsching’s letters to e.g. Karl August von Hardenberg (1750–1822) and Johann Daniel Wilhelm Otto Uhden (1763–1835) as well as letters (originals) addressed to Büsching; – Büsching’s notes on loans from the monastery library and verification of paintings from the monastery’s collection with regard to a future painting gallery. The rich contents of these hand-written documents constitute valuable source material for contemporary researchers, who can follow the dissolution procedure in the Wrocław Premonstratensian Monastery on their basis. The transliteration is preceded by an introduction featuring several examples of selected topics on the basis of which it is possible to determine the chronology and course of specific events of interest to researchers (e.g. selection of paintings for the painting gallery).

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What do the Potockis need an art collection for, namely on the Art Collecting in the Potocki Family exhibition at the Museum of King John III’s Palace at Wilanów

"Co kde mezi ruskou emigrací zůstalo krásného, to vše sem pietně sneseno." Výtvarná sbírka Ruského kulturně-historického muzea na Zbraslavi (1935-1945)

Przebieg postępowania kasacyjnego w opactwie norbertanów przy kościele św. Wincentego we Wrocławiu w świetle Akt Büschinga ze zbiorów Biblioteki Uniwersyteckiej we Wrocławiu