Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  NATIONAL MUSEUM IN POZNAN
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

THE NEW NATIONAL MUSEUM IN POZNAN (Nowe Muzeum w Poznaniu)

100%
Suchocki W.
Muzealnictwo
|
2006
|
issue 47
78-86
EN
The building which comprises the new wing in the main part of the National Museum in Poznan was the only museum edifice designed and erected in Poland after the second world war. More than half a century has passed from the time of its first conception. The completion of the initiative is the accomplishment of successive Museum directors - Zdzislaw Kepinski, Kazimierz Michalowski, Henryk Kondziela and Konstanty Kalinowski. The contemporary nature of the building consists of the fact that the use of newest technologies has created an environment minimalising the impact of assorted factors affecting the master of the objects and protecting them against burglary or devastation. The half a century in which the vision of the Museum had matured also witnessed a confrontation of diverse conceptions concerning museums and exhibitions as well as various theories of art. These aspects, involved in concrete political-economic- institutional conditions of the given time and place, have proved decisive for the ultimate shape of the building. The initial premises, devised in the 1950s and redesigned upon several occasions, have become the foundation of a competition solved in 1965. First prize went to a design by Ryszard Trzaska, Jacek Janczewski and Tadeusz Nesfeter. Construction was commenced in 1977, and a new functional programme was proposed in 1995 when the final phase of the project was entrusted to Witold and Magdalena Gyurkovich. The 100-metres long building located on a north-south axis along Marcinkowski Avenue, can be described simplest of all as composed of two parallel three-storey courses situated on different levels and created by a 'patio' running across all the storeys and covered with a glass roof, as well as transverse stairs connecting the space of the outer courses located on various levels. The lowest level contains storerooms, one of the most modern in Polish museums, and to the east: offices, conservation workshops and staff rooms; the ground-floor hall combines a number of basic reception functions (cloakroom, ticket office, shop), making it possible for the visitors to find their way to all the exposition sites. The same level includes the Drawing Cabinet. The third level is composed exclusively of showrooms, and the highest level features added interiors of the Poster and Design Department. Owing to the necessity of enlarging the storerooms and the exhibition area the Museum still lacks a lecture-projection room and a cafe. In the new wing the Polish Art Gallery occupies about 3 800 sq. m. on all three levels, and the Patio, together with adjoining showrooms, creates a space of approx. 1 500 sq. m. intended for temporary exhibitions.
2
Content available remote

NIGHT OF MUSEUMS IN THE OPINION OF THE PUBLIC (Noc Muzeów w opiniach publicznosci)

63%
Szelag M.
Muzealnictwo
|
2008
|
issue 49
295-303
EN
The author - the head of the Department of Museum Education at the National Museum In Poznan - analysed polls conducted at the time of the Night of Museums held at the Museum in question in 2006 and 2007. The questionnaires concentrated on the structure of the public, the manner of obtaining information about the Night of Museums, and opinions essential for the image of a museum (outer appearance, tidiness of the interior, opening hours, conduct of the staff, marking of the interior, the Night of Museums programme). The studies were conducted in the Painting and Sculpture Gallery (the main building of the National Museum in Poznan); in the first case the number of answers totalled 327, and in the second - 186. The polls - the first relating to the public to be carried out for years - made it possible, naturally to a limited extent, to conceive who and why attended the Night of Museum, and the manner in which the museum is assessed. Obviously, such surveys should be regarded with a dose of suitable criticism. They lack attempts at understanding the role played by teaching in the museum, as well as familiarity with the active nature of the individual and social construction of educational ventures, which make it possible to pose new questions and apply more effective research methods. The process of capturing this difference cannot rely merely on simple methods of calculation and estimation, a fact of essential importance also in research concerning the Night of Museums, which should take this particular problem into account if it is to produce conclusions for the future. Indubitably, the Night of Museums possesses an enormous potential, which is the reason why those visitors who earlier did not disclose any (or only sporadic) curiosity in museums now begin to fill their interiors. The well-conceived interests of the museum demand a closer look at what the public is looking for in a museum, what it is being offered, and the course of communication with a widely comprehended institution. More, the museum should instantly react to the obtained data if it wishes to tackle one of the greatest challenges faced by museums in the twenty first century, namely, acting in response to the visitor.
3
Content available remote

NIGHT OF MUSEUMS - A CULTURAL AND SOCIAL PHENOMENON OF THE LAST YEARS (Noc Muzeów - zjawisko kulturowe i spoleczne ostatnich lat)

51%
Rokosz K., Glowacki P.
Muzealnictwo
|
2008
|
issue 49
286-294
EN
The Night of Museums originated eleven years ago, with the first realisation of 'Lange Nacht der Museen' in Berlin. In Poland a similar event was first organised by the National Museum in Poznan, an example followed by other towns and institutions. In Warsaw it involves 120 participants. The Night of Museums has turned into a veritable socio-cultural phenomenon. One of its most important features is the greatly diversified offer addressed to a wide public. An excellent example is the National Museum in Warsaw, whose attraction lies not only in the featured masterpieces but also in events intended for all members of the public, regardless of their sophistication, even children. The Night of Museums is an occasion characteristic for special efforts to appeal to visitors: expositions, lectures, tours of conservation workshops and storerooms, but also concerts, theatrical spectacles, happenings and other highlights. The Night possesses considerable promotion potential, and meets with the interest of the press, television and radio. Its organisation is willingly shared by assorted towns, which perceive an opportunity for promoting culture in their regions. Another relevant feature is the Night's mass-scale nature, which might appear to be a paradox since the event is devoted to so called high culture. Art and culture become egalitarian owing to the interest they attract. The Night of Museums draws a public much wider than the one usually going to museums: assorted social groups representing various different interests and levels of education. Does it also offer a chance for an enhanced, in-depth and enjoyable contact with art? Or does the member of the public become a passive participant and not a conscious recipient? The visitor's interest is generated by his own curiosity, additionally kindled by the media. The mass scale of the event: a feeling of a community together with the character and climate of the Night act as a unifying factor. The visitors eagerly tour large institutions and impressive expositions, although the Night is also an opportunity for showing them smaller museums or centres distant from their customary interests. The diversified public shares a common goal, which contributes to the construction of all-sided social bonds. The participants are compelled to make choices (owing to the enormity of events and attractions) as well as deal with various inconveniencies (queues and crowded showrooms). Polish conditions also produced the question of interest in the Night of Museums due to free-of-charge access and symbolic payments in comparison with growing entrance fees. In addition, each member of the public is offered an event prepared specialty with him in mind. The Night of Museums is also a festivity of the museum staff, whose representatives would like the public to feel at home in their institutions. The thus amassed capital should prove profitable during the remaining part of the year. The Night is an excellent occasion for presenting the museum not only as a showroom full of paintings or sculptures, but also as a dynamic centre of education and entertainment.
4
Publication available in full text mode
Content available

PROWENIENCJA SUROWCA RZEŹB I KOLUMN ZE STRZELNA Z KOLEKCJI MUZEUM NARODOWEGO W POZNANIU W ŚWIETLE BADAŃ PETROGRAFICZNYCH

51%
Michniewicz J.
Ochrona Zabytków
|
2006
|
issue 1
91-102
EN
The research note discusses the outcome of petrographic studies relating to five Romanesque stone monuments from Strzelno, featured at the National Museum in Poznan. The research encompassed: - a perpendicular fragment of a column shaft 50 x 24 cm (dep. 64), originating from the post-Premonstratensian church of the Holy Trinity in Strzelno, covered with an ornamental tendril; - a fragment of the shaft of a column with an angel 28 x 28 x 28 cm (dep. 564) from the church of the Holy Trinity; - the head of Christ from the foundation tympanum in the rotunda of St. Prokop, damaged in a fire from 1945 (P. 19); - the head of a statue 22 x 20 x 21 cm (dep. 563), unearthed in the course of archaeological excavations in front of the rotunda of St. Prokop in 1950; - a column capital 40 x 36 x 20 cm (dep. 65) from the church of the Holy Trinity, with acanthus leafs in the corners and a fragment of a lamb. The examined monuments disclosed the presence of two types of sandstone: white quartzose sandstone, used for making the shaft of the column covered with an ornamental tendril, the shaft of a column with an angle, and the head of Christ, as well as subarkose sandstone used for the head of the statue and the column with acanthus leafs. It is difficult to propose an unambiguous origin of the white sandstone which could have been mined in the Warta river valley, e. g. near Konin-Brzezno (Tertiary sandstone), or in the Sudety Mts. in the regions of Zlotoryja, Lwowek Slaski, and Boleslawiec, as well as in Klodzko - between Polanica, Radkow and Krzeszowice (Cretaceous sandstone). The mineral composition of the red sandstones, their colour, and the presence of a calcite-clayey cement indicate a resemblance to the Permian period (Rotliegend) or Triassic sandstone (Buntsandstein) which do not occur in the Polish lowlands, and whose nearest outcroppings are located in the Sudety Mts. Particular attention is drawn to the petrographic similarity of this raw material to the sandstone in the portal of the abbey in Olbin, inserted into the southern nave of the church of St. Mary Magdalene in Wroclaw. The establishment of a connection between those monuments was rendered possible by a petrographic expert study of the abbey portal sandstone conducted by Alfred Majerowicz in 1963. The description contained therein corresponds to the petrography of the red sandstones from Strzelno. This similarity cannot be regarded as accidental since the raw material in question is not universally available. A sculptor could have used a similarly coloured raw material but he was unable to perceive the forms of the microscopic kaolinite crystals and the carbonates between the quartz grains. Consequently, we may conclude that the sandstone was brought over to Strzelno (in a raw form or as a completed work) probably by the same stone-cutters who made the portal for Olbin Abbey.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.