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1
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Korczak ilustrowany

100%
Wincencjusz-Patyna A.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2013
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issue 1(27)
53-69
EN
In the article the author looks closer at the illustrated edition of books written by Janusz Korczak, published in Poland between 1950s and today. There were not so many publications as one could have presumed judging from relatively big popularity of „Old Doctor”. The attention is paid to the two volumes of adventures of king Matt (King Matt the First and King Matt on a Desert Island) illustrated by Jerzy Srokowski (1957), Waldemar Andrzejewski (1978), and quite recently by Marianna Oklejak (2011); Kaytek the Wizard graphically decorated by Gabriel Rechowicz (1960), Tomasz Borowski (1978), and once again Oklejak (2012); Bankruptcy of Little Jack with illustrations by Wiesław Majchrzak (1979) and a short story Fame with black-and-white drawings by Leonia Janecka (1958). The artists applied their original, though very different from each other, styles in creation of these illustrations, and Srokowski’s version of King Matt seems to be one of the most recognisable characters of Polish children’s books. The most interesting appeared to be the possibility of comparing illustrations executed by different artists, which accompany one particular scene from one of the books. The comparison shows to what extent the interpretations may vary between one another.
2
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Uśmiech Kota z Cheshire, czyli o ilustracji angielskiej.

100%
Wincencjusz-Patyna A.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2007
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issue 1(3)
27-45
3
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O tym, jak Katowice świętowały Dzień Książki.

100%
Wincencjusz-Patyna A.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2010
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issue 2(16)
99-102
EN
The report describes the series of events that contributed to the celebration of 23rd April recognised in a calendar as the World Book and Copyright Day. This year in Katowice the day started with an international conference Books for Children – How Is It Done? (speakers from Germany, UK, Warsaw, Cracow, Toruń and Wrocław). The topics ranged from history to contemporary days, from author’s vision of a total book design to remarks on perfect typography, from special needs books to worldwide love for Janosch. The conference in The Silesian Library was accompanied by exhibitions of Polish illustration masters (Dwie Siostry publishing house) and of illustration designed by Polish artists in books for children edited in Germany (Goethe-Institut). In the afternoon two expositions were opened in the ‘Rondo Sztuki’ art gallery. These were: a post competition exhibition A Book Well Designed – Let’s Start with Children and Janosch for Children prepared by Andreas Meyer from Merlin Verlag, Gifkendorf in Germany. The competition was entered by 245 authors (including 30 participants from abroad) with over 300 titles. The winner was Julia Kotulla, graduated from the Weissensee Kunsthochschule in Berlin, awarded for her illustrations to Alles wegen Blasmusik.
4
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Attractive lives on attractive pages. Polish illustrated biographical books for young readers

100%
Wincencjusz-Patyna A.
Problemy Wczesnej Edukacji
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2016
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vol. 12
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issue 3(34)
107-117
EN
This paper focuses on an exceptionally interesting kind of books dedicated to young readers, quite popular recently in Poland, namely picture biography books for children and teenagers. Polish publishing houses, especially Muchomor from Warsaw, for the last few years have been coming up with a number of intriguing titles, both in the matter of words, and also in their graphic contents, especially the series “Gdansk Trilogy”. Brave ideas, young talents, novel artistic solutions, and original illustrations make the lives of famous people, not so very well-known figures and some unknown names – from both far and near, homeland and neighbourhood history – attractive reading matter. The author also looks back at the history of Polish illustrations included in biographies published in the second half of the 20th century. By combining the traditions of Polish applied graphic art with its up-to-date condition the author wants to trace the impact of the old and the novelty of contemporary books. She wants to stress the expressive power of an image turning illustrations into independent works of art. The number of illustrations and the graphic concept of an up-to-date language of visual forms make them genuine picture stories (especially in the designs by Ignerska). By means of comparative analyses of form and style, as well as a theory of image, she is going to focus on features of the visual side of the aforementioned books. The author would also like to stress the change in the way of perceiving the common history of places with such a complicated history as Gdańsk itself (in which Elisabeth and Johannes Hevelius, Fahrenheit, Schopenhauer, despite their German roots, are treated as part of the common heritage).
5
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Alice in a Land of Illustrators, or on Many Different Images of the Heroine of Lewis Carroll’s Dilogy

100%
Wincencjusz-Patyna A.
Filoteknos
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2022
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issue 12
69-81
EN
The article puts into an analysis the astonishing fact of an impressive number of artists from all over the world who executed illustrations to Lewis Carroll’s Alice in Wonderland and Through the Looking-Glass, and What Alice Found There in the view of surprisingly little information provided by Carroll in the dilogy text. The comparison of the graphic material, selected by the article’s author in consideration of its high artistic value, brings about an opportunity to follow different artistic approaches, strategies, techniques, modes, styles, manners and fashions. The time span of the discussed material covers 150 years, ranging from Carroll’s own illustrations to his manuscript of Alice’s Adventures Underground to original artworks created by various illustrators for the art show celebrating Alice’s 150th anniversary in 2015, which have been published in the exhibition catalogue. The author of the article suggests that the very lack of extensive description of Alice in the dilogy, actually allowed the illustrators, or even encouraged them, to introduce original Alice’s representations, according to their own preferences, and willingly reject John Tenniel’s canonical illustrations from the first 1865 edition.
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