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1

Miotły i zamtuzy. Jeszcze raz o „znaczeniach ukrytych” w sztuce holenderskiej XVII w. (malarstwo rodzajowe i kasety perspektywiczne)

100%

Oczko P.

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2013

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vol. 75

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issue 1

5-35

EN

In this paper the author pays special attention to brooms, which constantly re-appear in Dutch art of the seventeenth century, and their various meanings (signs of womanhood; paragons of virtue; women’s weapons; moral and, above all, sexual symbols). The author carefully describes problems connected with interpretations of Dutch genre painting and the issue of so-called hidden meanings/ disguised symbolism. The author proposes several new interpretations of paintings (for example the new interpretation of a peepshow by Samuel van Hoogstraten as representing the interior of a brothel) and suggests that the broom can also be understood as the symbol of debauchery (based on Dutch phraseologisms such as de bezem uitsteken and over de bezem getrouwd zijn), hence, not only a symbol concerning moral order, as it had been. The author also discusses two Dutch peepshows from the second half of the seventeenth century as the possible representations of the brothels and shows wide contexts from Dutch genre painting which enable such an interpretation.

2

Gatunek codzienności

99%

Todorov T.

Poznańskie Studia Polonistyczne. Seria Literacka

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2012

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issue 19

159-170

EN

The present essay shows the new genres of the seventeenth century Dutch painting (portrait, landscape and genre painting), viewed as painting of everyday life, as an alternative proposition to the historical painting then dominant in the academic categorization. What used to be marginal, peripheral and of secondary importance became the main motif in the majority of Dutch painting. Minor genres came to prominence and acquired autonomous status. The interest in the elements of everyday life could be traced in European art earlier but it was the seventeenth century Dutch artists that ultimately led “low” and realistic subject themes to come into their own commercially and artistically. Occasionally, even religious themes were presented as genre scenes, thus introducing to the presented images an air of ambivalence. In the works of Dutch painters, the uniqueness of high subject themes was opposed by pictures of everyday life and the repetitiveness of everyday domestic activities, not shunning, however, the allegorical potential contained in some of the depictions.

3

Gewerbt, gewalkt, genäht und poliert. Schuh- und Lederwerk im künstlerischen Schaffen von August Ludwig Most

72%

Gwiazdowska E.

Materiały Zachodniopomorskie

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2016

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vol. 12

671-720

EN

Abstract: Carl August Ludwig Most (1807–1883), Szczecin genre painter, portraitist and landscape painter, left a collection of drawings, oil sketches and paintings depicting various occupations and craft workshops (amongst others blacksmith, locksmith, weaver, wheelwright, shoemaker). The attention was focused on the artist contemporary leather products.

PL

Abstrakt: Carl August Ludwig Most (1807–1883), najbardziej ceniony szczeciński malarz rodzajowy, portrecista i pejzażysta, przyszedł na świat w rodzinie rzemieślniczej. Zarówno jego przodkowie, jak i bracia pracowali jako rzemieślnicy, mieszkając w okolicy głównej rzemieślniczo-handlowej arterii miasta. Most, stykając się na co dzień z warsztatami rzemieślników i interesując się materialną kulturą pomorską, chętnie upamiętniał tę sferę życia w swoich szkicownikach, a potem wykorzystywał w obrazach. Artykuł omawia zachowane rysunki, szkice olejne i obrazy przedstawiające warsztaty: kuźnicze, ślusarskie, tkackie, kołodziejskie, szlifierskie, szewskie oraz kram sprzedawców butów. Przede wszystkim zanalizowane zostały szkice różnorodnych wyrobów skórzanych, wytwarzanych i użytkowanych na Pomorzu i na terenie Niemiec, głównie obuwia i uprzęży, a także innych wyrobów, takich jak elementy skórzane wozu strażackiego czy torba myśliwska.

4

Images de l’oubli de soi: les scènes de genre de Greuze et de Chardin

58%

Prohászka E.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2020

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vol. XXX

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issue Zvláštní číslo – Le monde de la littérature

30-38

EN

Genre painting, also called genre scene or “petit genre”, represents aspects of everyday life by portraying ordinary people engaged in common activities. Jean-Baptiste Greuze (1725–1805) and JeanSiméon Chardin (1699–1779) are probably the most famous painters specialized in this genre in the eighteenth century in France. It is striking that often the characters in their canvases are deeply absorbed in ordinary activities, forgetting the surrounding world. The purpose of our paper is to illustrate the representations of self-effacement in French painting of the eighteenth century, based on the analysis of some paintings by Greuze and Chardin and also on theoretical and critical texts of their time. We draw as well a parallel between the work of Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot, and the theory of the flow of the psychologist Mihály Csíkszentmihályi, to show their common points considering always their appearances in the genre paintings.

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1 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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1 Gwiazdowska E.

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1 Todorov T.

Miotły i zamtuzy. Jeszcze raz o „znaczeniach ukrytych” w sztuce holenderskiej XVII w. (malarstwo rodzajowe i kasety perspektywiczne)

Gatunek codzienności

Gewerbt, gewalkt, genäht und poliert. Schuh- und Lederwerk im künstlerischen Schaffen von August Ludwig Most

Images de l’oubli de soi: les scènes de genre de Greuze et de Chardin