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Na szklanych kliszach. Nieznane rysunki Norwida, czyli Album Marceliny Czartoryskiej

100%
Chlebowska E.
Studia Norwidiana
|
2014
|
vol. 32
147-173
EN
The article is concerned with one of Norwid’s artistic albums, called Marcelina Czartoryska’s Album named so after the owner’s name. Because the collection that was built up in the 19th century has not lasted till our times, in the introduction the author presents the present state of research on the album on the basis of the available literature of the subject, paying attention to a number of ambiguous, or even controversial questions that appear in the studies. Next she presents unknown archival material found in various museum collections: a detailed description of the album provided by Antoni Euzebiusz Balicki at the beginning of the 20th century, that at present is found in Juliusz Wiktor Gomulicki’s archive, and a collection of 10 photographs of album pages from Ignacy Krieger’s Krakow studio, coming from the same period. The published materials make it to a large degree possible to reconstruct the contents of the album that is an interesting document, enriching our knowledge not only of Norwid’s visual heritage, but also on a broader plane – of his artistic biography.
2

Na szklanych kliszach: nieznane rysunki Norwida, czyli Album Marceliny Czartoryskiej

100%
Chlebowska E.
Studia Norwidiana
|
2014
|
vol. 32
147-173
EN
The article is concerned with one of Norwid’s artistic albums, called Marcelina Czartoryska’s Album named so after the owner’s name. Because the collection that was built up in the 19th century has not lasted till our times, in the introduction the author presents the present state of research on the album on the basis of the available literature of the subject, paying attention to a number of ambiguous, or even controversial questions that appear in the studies. Next she presents unknown archival material found in various museum collections: a detailed description of the album provided by Antoni Euzebiusz Balicki at the beginning of the 20th century, that at present is found in Juliusz Wiktor Gomulicki’s archive, and a collection of 10 photographs of album pages from Ignacy Krieger’s Krakow studio, coming from the same period. The published materials make it to a large degree possible to reconstruct the contents of the album that is an interesting document, enriching our knowledge not only of Norwid’s visual heritage, but also on a broader plane – of his artistic biography.
3
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Galicyjska recepcja Chopina. W kręgu Marceliny Czartoryskiej i Stanisława Tarnowskiego

99%
Stachura-Lupa R.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2021
|
issue 41
125-149
EN
The paper is dedicated to the role of princess Marcelina Czartoryska, a friend and student of Chopin, as an initiator of the research into his life and work, and to Stanisław Tarnowski’s essay about the composer. On 19 March 1871, in the hall of the Saski Hotel, a public lecture on Chopin was presented by Tarnowski, accompanied by Czartoryska’s magnificent performance. The income from this event was donated to Towarzystwo Wzajemnej Pomocy (mutual help association) for the support of the poor students of the Jagiellonian University. Czartoryska accompanied Tarnowski, illustrating his speech by playing the piano. Tarnowski published his work twice: in 1871 and 1892. He set the life and work of Chopin in the context of the period. Based on the sources, he reconstructed the spiritual biography of the artist, his creative personality both in terms of the psychological and the social aspects. He saw in Chopin “the fourth greatest poet of the divided Poland,” the fourth Bard.
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