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1
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De la sortie de terre à la mise sous verre: la Vénus de Lespugue comme chef–d’œuvre de l’art mobilier paléolithique. Essai de biographie muséale

100%
Bertin M.
Organon
|
2018
|
vol. 50
19-43
EN
Discovered in August 1922 by the Count of Saint–Périer and given to the laboratory of Pale- ontology in the National Museum of Natural History of Paris a few months later, the Venus of Lespugue can be seen as a major Palaeolithic work. A lot of theories have tried to explain its meaning and function in Palaeolithic society, but its biography within the museum still remained to be done. This biography will help to examine the situation of the whole of Prehistory within the National Museum of Natural History, to understand the evolution of this institution during the last century, and to reevaluate the rank of masterpiece that has been attributed to the Venus in the new Musée de l’Homme
2

Uniwersum arcydzieł. Dyskurs krytycznoliteracki w listach Norwida

84%
Stanisz M.
Studia Norwidiana
|
2014
|
vol. 32
41-60
EN
Cyprian Norwid’s correspondence is an important element of his critical reflection. From the critical remarks contained in it the image of literature appears as a collection of masterpieces situated in the space of eternal truths and universal values based on the highest intellectual, moral and esthetic standards. According to Norwid a critic’s role consists mainly in searching for outstanding works and recording crucial literary facts. In his assessment of contemporary literary life, however, Norwid used the above rules in an inconsistent way: vast areas of Polish literature of those times (among them being the 19th century novel) remained outside his critical judgments, and his opinions resulted not only from his absolutist strategy of “tracking down masterpieces”, but also from accidental reading practice of a “usual” reader entangled in everyday life.
3
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Uniwersum arcydzieł. Dyskurs krytycznoliteracki w listach Norwida

84%
Stanisz M.
Studia Norwidiana
|
2014
|
vol. 32
41-60
EN
Cyprian Norwid’s correspondence is an important element of his critical reflection. From the critical remarks contained in it the image of literature appears as a collection of masterpieces situated in the space of eternal truths and universal values based on the highest intellectual, moral and esthetic standards. According to Norwid a critic’s role consists mainly in searching for outstanding works and recording crucial literary facts. In his assessment of contemporary literary life, however, Norwid used the above rules in an inconsistent way: vast areas of Polish literature of those times (among them being the 19th century novel) remained outside his critical judgments, and his opinions resulted not only from his absolutist strategy of “tracking down masterpieces”, but also from accidental reading practice of a “usual” reader entangled in everyday life.
4
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Zabytek literacki czy „dzieło w ruchu”? Wesele Stanisława Wyspiańskiego jako lektura szkolna

71%
Morawska I.
Polonistyka. Innowacje
|
2017
|
issue 6
177-192
EN
The article describes problems related to the functioning of texts recognized as masterpieces of culture in the school circles. One of them is Wesele by Stanislaw Wyspianski. The article describes exemplary strategies for the design of lessons devoted to the discussion of this work in relation to concepts and cultural, literary, media and educational phenomena which are in line with current trends in culture development. The proposed concept of multidimensional reading of texts of particular cultural-creative significance is a proposal to answer questions about the meaning, goals and methods of teaching the reading experiences of the young generation in the age of the Internet.
PL
Artykuł dotyczy problemów związanych z funkcjonowaniem w obiegu szkolnym tekstów uznanych za arcydzieła kultury. Jednym z nich jest dramat Stanisława Wyspiańskiego Wesele. W artykule opisane zostały przykładowe strategie projektowania lekcji poświęconych omawianiu tego utworu w nawiązaniu do koncepcji i zjawisk kulturowo-literackich, medialnych i edukacyjnych, które wpisują się w aktualne trendy rozwoju kultury. Zaproponowana koncepcja wielowymiarowego czytania tekstów o szczególnym znaczeniu kulturotwórczym stanowi propozycję odpowiedzi na pytania o sens, cele i sposoby kształcenia doświadczeń lekturowych młodego pokolenia w epoce Internetu
5
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Uczciwość, rzetelność, doskonałość

67%
Nowak W.
Logos i Ethos
|
2019
|
vol. 49
|
issue 1
EN
The article is an attempt to put in order the problems of honesty, diligence and masterpiece in art. First, the relation between honesty, diligence and excellence is explained. Then, the history of the category of masterpiece is presented. The origin and development, including the shaping of the sense and scope of the term “masterpiece” goes back to medieval notions: French “chef d’oeuvre,” German “Meisterstück” and English “masterpiece.” In Enlightenment and especially in Romanticism it reaches the modern multi-aspect approach. It is often used to works of art, which are the powerful expressions of the creative personality of an artist.
PL
Artykuł jest próbą uporządkowania zagadnień uczciwości, rzetelności i arcydzieła w sztuce. Wychodzę od rozjaśnienia relacji między uczciwością, rzetelnością i doskonałością. Następnie prezentuję dzieje kategorii arcydzieła. Początki terminu „arcydzieło” sięgają pojęć średniowiecznych: fr. chef d’oeuvre, niem. Meisterstück i ang. masterpiece. W epoce oświecenia, a potem w romantyzmie termin ten uzyskał swoje wieloaspektowe znaczenie. Często używa się go wobec tych dziel sztuki, które są potężnymi ekspresjami twórczej osobowości artysty.
6
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Arcydzieło El Greca Ekstaza św. Franciszka

67%
Mirończuk R.
Teologiczne Studia Siedleckie
|
2014
|
issue XI/11
153-168
EN
The painting of El Greco The ecstasy of St. Francis of Assisi is sitting in a museum of Diocese of Siedlce. It is painted by Domenikos Theotokopulos who was born in Crete. He worked in Toledo. He created 130 paintings because of his interests of Saint Francis. The painting The ecstasy of St. Francis of Assisi presents him at a moment of spiritual admiration. It is an expression of astonishment and love for God who gives him stigmata. The wounds left in Christ's body by the Crucifixion have evangelical dimension. People watching the painting are invited to preach the Gospel by modest lives permeated with love for God and disinterested love for people.
7
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Un Pygmalion moderne. L’artiste aux limites de l’art dans "L’OEuvre" d’Émile Zola

67%
Rachwalska von Rejchwald J.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
|
2018
|
issue 13
115-126
PL
Artykuł stanowi rozważanie nad naturą artysty wybitnego i tworzonego przez niego dzieła. Frenhofer i Claude Lantier są artystami-malarzami pragnącymi przekroczyć – siłą ich talentu – granice sztuki. Chcą płaskiej powierzchni obrazu nadać trzeci wymiar, pragnąc „ożywić” malowane przez siebie kobiety. Droga jednak do osiągnięcia tego artystycznego celu wiedzie poprzez częściową rezygnację z własnego człowieczeństwa, odrzucenie rzeczywistości i poświęcenie wszystkiego ideałowi istniejącemu wyłącznie w wyobraźni tych twórców. W imię tego ideału poddają swoje dzieła nieustannym poprawkom, które to, paradoksalnie, przynoszą odwrotny skutek, prowadząc do chaosu i dezintegracji całości. Na ile więc tworzone dzieło jest dialogiem ze światem, a na ile autoportretem samego artysty i jego wewnętrznych zmagań z ideałem?
EN
This article introduces a deliberation on the nature and work of an ingenious artist. Frenhofer and Claude Lantier are both artists-painters that try to transcend – thanks to their talents – the limit of their art form. They strive for enriching the otherwise two-dimensional painting plains with the third dimension by “invigorating” women they are creating. In order to do so they are forced to repudiate part of their humanity, to strongly confront reality and to utterly devote all their energy to an idealized concept formed by their imagination. They keep reiterating their work, introducing endless amendments that paradoxically bring about the contrary effect, since the pieces start to be overwhelmed with chaos and disintegration. The question arises whether the created pieces correspond to reality or are they maybe self-portraits of the ingenious artists that lead an inner fight with their internal exemplars?
8
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„Zaczarowane koło” w streszczeniu Konecznego

60%
Gajda K.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
|
2019
|
vol. 19
129-144
RU
Feliks Koneczny regarded Lucjan Rydel as a talented and hard-working writer. After the stage success of Zaczarowane koło (1899), he was convinced that the author could rival with Stanisław Wyspiański. In his broad review, published in Przegląd Polski, while reflecting a plot scheme of the work, he was at the same time looking for structural justification of action process. He noticed dramatic, linguistic and psychological values of Rydel’s ‘dramatic fairy tale.’ He appreciated Rydel’s writing skills. However, he also expected the type of art which was uniform in terms of genre. Looking into the way in which realistic and symbolic elements were combined with folklore, he discovered the cause of compositional imperfections of Zaczarowane koło, which he analysed deeply and assessed objectively.
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