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1
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Hic manus ob patriam pugnando vulnera passi, czyli o kontynuacji programu ideowego Sali Rycerskiej Zamku Królewskiego w litografii Franciszka Kosteckiego

100%
Jakubowski T.
Artifex Novus
|
2018
|
issue 2
20-37
EN
The article refers to the ways in which the iconographic programme of the Knight’s Hall from the Royal Castle in Warsaw was portrayed in 19th-century graphics. The ideas devised by King Stanisław August in the spirit of the Enlightenment were extended by Franciszek Kostecki in lithography from 1819-1831. It depicts the apotheosis of Jan Henryk Dąbrowski, Tadeusz Kościuszko and Prince Józef Poniatowski, and was complemented with a quotation from Virgil’s Aeneid. The subsequent graphics were mainly executed in the workshops of Louis Letronne (c. 1821) and Józef Swoboda (published in Lviv in 1863). The last echo of extending the ideas of heroic leaders and the pantheon of national heroes is the painting by Jerzy Kossak ‘On the threshold of eternity’ from 1935 which depicts Józef Piłsudski entering Wawel Cathedral, and Józef Poniatowski and Tadeusz Kościuszko welcoming him there on the stairs.
2
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Popularyzacja zabytków ojczystych w grafice polskiej XIX wieku

86%
Skotniczna E.
Ochrona Zabytków
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2013
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issue 1-4
325-345
EN
The article addresses the issue of dissemination of knowledge about the national monuments of architecture through their printed images. This phenomenon was mostly developed in the 19th century when the interest in historic monuments, especially various buildings and their past, was stimulated by the popular in Europe fascination with history. This was particularly important in enslaved Poland. One form of visual dissemination of knowledge about important historic architecture of the country was the printmaking. Engravings became an efficient tool for education, providing a deeper understanding of the artistic culture of the country. At the same time they became helpful in any research of historical and iconographic type, as evidenced by a popular 19th-century phenomenon of creating graphic collections. Collecting of engravings, including views of historic native monuments, was particularly popular among aristocrats, intellectuals and artists. Popularization of Polish architectural heritage was made in a variety of ways. The recipient could come into contact with them through the so-called picturesque albums, illustrated magazines and publications promoting local heritage. An interesting and notable way of spreading the knowledge about Polish monuments were popular publications for pilgrims and devotional images. Educational nature of the above publications undoubtedly influenced Polish public awareness of importance and patriotic value of historic architecture. While analyzing a large iconographic material in the form of the 19th-century engravings depicting historic buildings the use of pattern becomes noticeable. Some monuments were more popular than others due to the frequent repetition of a particular theme by various artists or even copying the originals. Such practice resulted in a visual awareness of certain buildings in particular. It is worth mentioning that especially two albums: by Zygmunt Vogel and Jan Nepomucen Głowacki, provided constantly repeated in the 19th century patterns. The article emphasizes an enormous role of the 19th-century engravings in raising awareness and educating about historic monuments. The significant importance of graphic arts was the result of their main characteristic – the ability to produce multiple impressions of the same iconographic motifs. The 19-century studies of national monuments by early researchers and art lovers would not have received a wider response and social concern without the popularity of architectural images captured in prints.
3
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Produkcja popularnych obrazów graficznych w latach 1870–1940. Technika, zdobienie i ramowanie

86%
Oficjalska E.
Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"
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2015
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vol. 3
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issue 3
124-144
PL
Celem niniejszego artykułu jest zwrócenie uwagi na niedoceniany fenomen obrazów fabrycznych. Ze względu na obszerność materii rozważania ograniczono do przybliżenia technik produkcji (litografii, fotolitografii, offsetu), a także wariantów zdobień i ramowania. Pracę nad tematem oparto na badaniach terenowych i muzealnych, zaś badania bibliograficzne – na tekstach badaczy niemieckich. Wynika to z faktu, że niemieccy wytwórcy obrazów byli w swoim czasie potentatami na rynku europejskim. Wyrób reprodukcji obrazkowych rozpowszechnił się tak dalece, że bez przesady można w tym przypadku stosować sformułowania typu produkcja czy obraz fabryczny. Historia popularnych wydawnictw związana była z postępem technologicznym. Dzięki rozwojowi technik poligraficznych obrazy zaczęto wykonywać w ilościach hurtowych. Szybko i naturalnie obrazy fabryczne stały się reprezentacyjną sztuką chłopów i robotników.
EN
The main goal of the article is to draw attention to the underestimated phenomenon of printed paintings. Due to the extensiveness of the matter, the considerations are limited to the study of the production technology (primarily lithography, secondarily photolithography and offset printing), as well as variations of embellishments and framing. The study of the subject was based on field and museum researches, while bibliographic research based primarily on texts of German researchers. This results from the fact, that at the time German producers of graphic images were potentates on the European market. What is more, manufacture and distribution of painting reproductions spread so widely, that without exaggeration, we can use the expressions like “the manufacture” or “the manufactured painting”. The history of the most popular series of paintings were connected with the technological progress. Thanks to the development of printing-techniques the images could be produced in wholesale-quantities. Quickly and naturally the manufactured painting became a representative art of peasantry and blue-collar workers.
4
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Echo ruin, Scherzo, Solo – Graficzny trójgłos o sztuce życia w trzech litografiach Cypriana Norwida z 1861 roku

72%
Szymańska I.
Studia Norwidiana
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2012
|
vol. 30
39-77
EN
The subject of the article is an attempt to look in a new way at three lithographs: The Echo of Ruins, Scherzo and Solo from 1861 as a result of Norwid's cooperation with the Paris workshop Saint-Aubin. Analysis of particular graphic works treated both as individual ones and as a three-part cycle, aims at finding the symbolic message contained in them. Interpretation of erudite compositions referring to both tradition and the sign space contemporary with the poet, in the context of Norwid's conception of art and the artist's views on its place in social life, allow noticing the wealth of their symbolic meaning, comprising at the same time a commentary of the phenomena contemporary with the poet and the dimension of universals.
5

Echo Ruin, Scherzo, Solo - graficzny trójgłos o sztuce życia w trzech litografiach Cypriana Norwida z 1861 roku

72%
Szymańska I.
Studia Norwidiana
|
2012
|
vol. 30
039-077
PL
The subject of the article is an attempt to look in a new way at three lithographs: The Echo of Ruins, Scherzo and Solo from 1861 as a result of Norwid’s cooperation with the Paris workshop Saint-Aubin. Analysis of particular graphic works treated both as individual ones and as a three-part cycle, aims at finding the symbolic message contained in them. Interpretation of erudite compositions referring to both tradition and the sign space contemporary with the poet, in the context of Norwid’s conception of art and the artist’s views on its place in social life, allow noticing the wealth of their symbolic meaning, comprising at the same time a commentary of the phenomena contemporary with the poet and the dimension of universals.
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