Search results

1

THE DATE OF CHOPIN'S ARRIVAL IN PARIS

100%

Helman Z., Wroblewska-Strauss H.

Musicology Today

|

2007

|

vol. 4

95-103

EN

The authoresses of the article present their momentous discovery, which permit to accurately establish the exact day of Chopin's arrival in Paris after 150 years of confusion surrounding this topic. The research in the archives of Parisian 'Préfecture de police', combined with new data brought to light in studies of other Chopin biography scholars, such as Henryk F. Nowaczyk, Zbigniew Skowron, and confronted with historical facts corresponding with Chopin's journey to Paris, allows to define precisely the dates of this important moment in the composer's life.

2

Paryż i Warszawa, Yonville-l’Abbaye i Iksinów – miasta i miasteczka w twórczości realistów

100%

Gielata I.

|

2012

|

vol. 10

|

issue 2(19)

161-176

EN

The author traces the stories of 19th century literary characters – inhabitants of villages or small towns – who dream about living in big, modern metropolises. Those journeys are quite often phantasmatic and never go beyond the sphere of desires (Emma Bovary). They prove, however, that the modern writers sharply distinguished the small town lives from the lives in big conurbations. Those differences were also stressed by the economists (Adam Smith) and sociologists (Georg Simmel) quoted by the author. Strong market, great capitals, abundance of ever changing excitements, volatility and superficiality of relationships, boredom or extravagancies are all products of big urban agglomerations which are hard to find in everyday life of small towns. This led to drawing sharp borderlines (mental rather than real) which separated 19th century small towns from cities. However the author suggests that the modern authors equally often stressed the differences and similarities between cities and small towns. This could be observed in Bolesław Prus’s novel Emancypantki (The New Woman) in which the phenomenon of gossip blurs the borderline between a small town Iksinów and the city of Warsaw.

3

MADAME SWETCHINE AND HER FAITH (Zofia Swieczina i jej wiara)

100%

Drozdek A.

Roczniki Historii Kosciola (Annals of Church History)

|

2011

|

vol. 3(58)

39-57

EN

no English abstract submitted

4

Miejsca i ludzie w fotografii. Paryż Eugène’a Atgeta

88%

Kamecka M.

Białostockie Studia Literaturoznawcze

|

2013

|

vol. 4

141-151

EN

The article presents the person and output of the French photographer Eugène Atget (1857-1927). The artist was famous for his diligence in photographing the changes occurring in Paris as the result of a reconstruction originated during the Second Empire. The enormous legacy of the artist-documentalist (c. 10 thousand photos) shows perishing places in the capital of France as well as representatives of dying out trades. The author is especially interested in Atget’s fascination with life on the peripheries of the metropolis.

5

BOHEMIANISM OUTSIDE PARIS. CENTRAL EUROPE AND BEYOND

88%

Murawska-Muthesius K.

ARS

|

2012

|

vol. 45

|

issue 2

87 – 93

EN

The issue investigates the Central European variants of bohemianism, as seen in relation to Paris, but also to other centres, which adopted the French bohemian life styles, such as New York. What initially appeared to be a somewhat marginal issue, of interest mainly to the local researchers aiming to complete the archives of the transnational bohemianism, did, in fact, attract contributors from very diverse disciplines and from a plethora of academic centres worldwide, reaching from California and Colorado to New Zealand, not omitting the United Kingdom and France, as well as, of course, Hungary, Czech Republic and Poland.

6

ARTISTS FROM LATVIA ON THE MAP OF LATE 19TH AND EARLY 20TH CENTURY EUROPE: A GLIMPSE INTO THE ROUTES, FORMS AND RESULTS OF THEIR MIGRATION (Latvijas makslinieki Eiropas karte 19. gs. beigas un 20. gs. sakuma: Ieskats migracijas marsrutos, izpausmes u

75%

Abele K.

Makslas Vesture un Teorija

|

2006

|

vol. 5

49-58

EN

Latvia still marked the border of the Russian Empire's Baltic provinces and a nation state had yet to spring from the Latvian-inhabited parts of the tsarist realm. Focusing on locally unknown information sources, the undertaken survey shows this aspect of art history as a promising field for future research and allows us to dispute some oversimplified assumptions about artistic migration. Furthermore, it helps to place the emigre life of painter Johann Walter-Kurau (1869-1932) in a context of related developments. The address register in the catalogue of the Latvian Art Exhibition 1910 lists Riga 12 times, St. Petersburg - 11 times, minor Latvian towns and country places - 4 times, Jelgava - twice and Paris - once, but works by three artists were exhibited after their death. If we include those who were just seasonal residents in their native country, the number of Parisians alone would exceed that of the Jelgava artists, provincial artists and posthumous exhibitors. It should be remembered though, that their sojourn in the French capital was usually financed by post-graduate travel grants from the Stieglitz Central School of Technical Drawing, a rich private college of decorative arts and design in St. Petersburg. One of the lucky grant winners was Karlis Brencens (1879-1951), who went to study stained glass with Felix Gaudin. He recorded his Paris period in stylised sketches and made friends with Hermengildo Anglada Camarasa. One of those who set off for Paris, was a painter from Talsi, Frederic (originally Friedrich) Fiebig (1885-1953) whose 'long road from Latvia to Alsace' comprised a Paris period of more than two decades (1907-1929).

7

Česká hudba ve Francii v meziválečném období

75%

Dostrasilova J.

Hudební věda (Musicology)

|

2005

|

vol. 42

|

issue 3-4

367-390

EN

An outlook on the, until now, almost unresearched subject of the Czech and French music links between the two World Wars, reveals many levels of their unusual richness. Endorsment of the French Revolution ideals, the Francophile Bohemian nobility of the 19th century, as well as the following political orientation towards France in the war and post-war periods, influenced in a decisive way many types of arts. Links between the two cultures broadened in the fields of the arts, literature, drama as well as music (Manes). The Parisian colonies of Czech artists (Martinu, Kupka, Sima, and others) and their contacts, became a source of rich connections between the individua artistic trends. In the process of reception of Czech music in France the local 'societes de concert' played an important role, orientated towards the development of contemporary chamber music, with interest in foreign composers. Of decisive importance here was the Societe 'Triton', also in connection of the radio broadcasts of its concerts. The chronological list of the concerts of Czech music in Paris between the two wars represents an important source for future research of this subject.

8

MEDZI PARÍŽOM A BRATISLAVOU I. FRANCÚZSKO-SLOVENSKÉ A SLOVENSKO-FRANCÚZSKE VZŤAHY VO VÝTVARNOM UMENÍ POČAS ŠESŤDESIATYCH ROKOV 20. STOROČIA (1. ČASŤ – SEGMENT)

75%

Bartošová Z.

ARS

|

2020

|

vol. 53

|

issue 1

55 – 81

EN

The upcoming book by Zuzana Bartošová explores French-Slovak and Slovak-French relations in the area of visual arts in the latter half of the twentieth century. The paper “Between Paris and Bratislava I” is a segment of the upcoming book. It focuses on events in the period of 1960 – 1968 during which a crucial role has been played by Alex Mlynárčik’s initiatives directed towards a French art critic, Pierre Restany, a key figure of Parisian New Realism. The paper highlights Restany’s contribution to Slovak art scene, for instance during the preparation of international exhibition Danuvius ’68. It also deals with the AICA (Association internationale des critiques d’art) congress held in 1966 in Prague and Bratislava and with its resonance in Slovak environment.

9

“BOHEMIAN” IN PRAGUE. BOHUMIL KUBIŠTA AS A SOCIAL CRITIC

63%

Moseman E. F.

ARS

|

2012

|

vol. 45

|

issue 2

155 – 169

EN

The Czech artist Bohumil Kubišta (1884 – 1918) offers an example of the Parisian bohemian transposed into the tensions of class and ethnicity in Habsburg Prague. During two residencies in Paris between 1909 and 1910 Kubišta internalized the social envisioning of landscape and metropolis characteristic of much French modernist art. While in Paris, Kubišta – like his 19th-century artistic idols – sketched scenes of bustling street life, working-class entertainments, and urban labour. He transferred this roving eye for stratified social dynamics to local subjects in Prague and the surrounding countryside. Not satisfied to represent the merely beautiful, he strived to provoke his bourgeois viewer to contemplate the realities of class-based social dynamics in the political and social setting of Habsburg Prague. As a Paris-inspired bohemian in the streets of Prague, Kubišta rendered these class and ethnic tensions in scenes that reveal him as a critical observer of modern social life.

10

EPISTEMISCHE STILE DER VERGEGENWÄRTIGUNG. FRANZÖSISCHES UND UNGARISCHES MITTELALTER AUF DER PARISER WELTAUSSTELLUNG 1900

63%

Carqué B.

ARS

|

2009

|

vol. 42

|

issue 1

64-80

EN

The article examines a specific role of medieval architectural language at the 1900 Paris World Exposition. Two ephemeral buildings evocated the presence of the history in a seemingly similar way: partial citations from different epochs - with a specific stress put on the Middle Ages - were mixed together to make stunning ensembles. The similarity of approach and overall impression hid cardinal differences. While in the case of the Hungarian pavilion the medieval citations impersonated the basis for the political and cultural self-concept of the nation, in the case of the French ensemble - Le Vieux Paris - they were instrumental in a merely nostalgic interest in the history of the city.

11

BOHEMIAN ARTISTS AND “REAL BOHEMIANS”. LIFE AS SPECTACLE IN HUGO’S “NOTRE-DAME DE PARIS” AND GAUTIER’S “LES JEUNES-FRANCE”

63%

Turman K.

ARS

|

2012

|

vol. 45

|

issue 2

94 – 107

EN

In the nineteenth century the bohemian artist became a recognized figure representing a counterculture of artists, musicians, poets and writers. This character defied categorical definition by refusing to subscribe to the mainstream norms of the bourgeois-ruled society in nineteenth-century Paris. Many critics argue that these bohemian artists originally modelled their own lifestyle after that of the Gypsy, or Romany. Was this lifestyle also a trait appropriated from the “real bohemians,” or Gypsies? Or was it rather the product of the constructed myth surrounding the Gypsy figure, projected onto the Gypsy in order to create and justify a modern artistic identity? The paper explores these questions by analogizing La Esmeralda in Victor Hugo’s Notre-Dame de Paris with Theophile Gautier’s Bohemians in Les Jeunes-France. The analysis deconstructs the myth of the Gypsy as public entertainer and spectacular object through historical publications from the nineteenth century.

12

MEDZI PARÍŽOM A BRATISLAVOU II. FRANCÚZSKO-SLOVENSKÉ A SLOVENSKO-FRANCÚZSKE VZŤAHY VO VÝTVARNOM UMENÍ POČAS SEDEMDESIATYCH A OSEMDESIATYCH ROKOV 20. STOROČIA (2. ČASŤ – SEGMENT)

51%

Bartošová Z.

ARS

|

2021

|

vol. 54

|

issue 1

73 – 97

EN

The study focuses on the events in the period of so-called normalisation, specifically between 1972 and 1989. During this period, Alex Mlynárčik continued to cooperate with French artists and art critics, notably Pierre Restany. The study points out the importance of this leading personality of Parisian New realism in terms of the presentation of Jozef Jankovič, Robert Cyprich, Jana Želibská and the White Space in White Space project in Paris. It also focuses on lesser-known publications by Geneviève Bénamou, a French art critic whose thesis was based on research conducted during her stay in Czechoslovakia. As an editor, Bénamou also prepared a book on visual artists of Czech and Slovak’s origin living outside Czechoslovakia, including Vladimir Ossif. Another personality who considerably contributed to shaping the French-Slovak relations was a young philosopher Etienne Cornevin. Over the decade he spent in Slovakia as a French language teacher, he met the circle of visual artists of his generation, members of the unofficial art scene.

13

Z FRANCUSKIEJ PERSPEKTYWY – O ZSYŁCE NA SYBERIĘ RUFINA PIOTROWSKIEGO I JEJ EMIGRACYJNYM WYMIARZE

45%

Pugacewicz I. H.

Studia Migracyjne - Przegląd Polonijny

|

2016

|

vol. 42

|

issue 1 (159)

99-110

PL

Artykuł ukazuje znaczenie pamiętników Rufina Piotrowskiego w budowaniu emigracyjnej świadomości II poł. XIX w. na temat prześladowań i zsyłek Polaków na Sybir. Na podstawie relacji prasowych oraz kolejnych wydań pamiętników próbowano odtworzyć atmosferę zainteresowania, podniecenia, a nawet skandalu politycznego, do jakiego przyczynił się ich autor, publikując swoje wspomnienia. Z drugiej strony przeanalizowana została rola informacyjno-edukacyjna wspomnień, a samego autora próbowano przedstawić jako nauczyciela nie tylko wychodźczej młodzieży, ale w pewnym sensie – całej Wielkiej Emigracji. Ukazano znaczenie jego pamiętników w tworzeniu polskiej świadomości narodowej i budowaniu postaw patriotycznych w drugim pokoleniu emigrantów – uczniów szkoły polskiej w Paryżu, w większości urodzonych we Francji. Ich autor, wieloletni profesor słynnej Szkoły Batignolskiej był jednym z największych autorytetów dla uczących się tam uczniów. Jego wspomnienia wywierały na nich wyjątkowy wpływ: począwszy od budowania mesjanistycznego obrazu zniewolonej Polski, aż do podejmowania ostatecznych decyzji o walce z bronią w ręku za jej wolność.

EN

The article presents the importance of the memories of Rufin Piotrowski, a Polish immigrant after the insurrection of November 1830 who escaped from Siberia in 1846, in the process of building an emigrant’s consciousness about Siberian reality. Based on the written accounts (in the form of articles) and the successively edited French and Polishmemoirs of R. Piotrowski, the article tries to recreate the climate of interest, excitation, and even the political rumours surrounding the affairs occurring in the second part of nineteenth century. The article also analyses the educational and informational role of souvenirs from Siberia in the process of building the Polish national identity among the second generation of immigrants. For them Piotrowski was regarded as a heroic teacher who deserved followers. He not only had great influence over immigrant youth, but he was also an authority for the whole Polish emigration. The impact that the articles and books written by Piotrowski have had on the formation of the Polish identity and patriotism have been so far underestimated.

Refine search results

THE DATE OF CHOPIN'S ARRIVAL IN PARIS

Paryż i Warszawa, Yonville-l’Abbaye i Iksinów – miasta i miasteczka w twórczości realistów

MADAME SWETCHINE AND HER FAITH (Zofia Swieczina i jej wiara)

Miejsca i ludzie w fotografii. Paryż Eugène’a Atgeta

BOHEMIANISM OUTSIDE PARIS. CENTRAL EUROPE AND BEYOND

ARTISTS FROM LATVIA ON THE MAP OF LATE 19TH AND EARLY 20TH CENTURY EUROPE: A GLIMPSE INTO THE ROUTES, FORMS AND RESULTS OF THEIR MIGRATION (Latvijas makslinieki Eiropas karte 19. gs. beigas un 20. gs. sakuma: Ieskats migracijas marsrutos, izpausmes u

Česká hudba ve Francii v meziválečném období

MEDZI PARÍŽOM A BRATISLAVOU I. FRANCÚZSKO-SLOVENSKÉ A SLOVENSKO-FRANCÚZSKE VZŤAHY VO VÝTVARNOM UMENÍ POČAS ŠESŤDESIATYCH ROKOV 20. STOROČIA (1. ČASŤ – SEGMENT)

“BOHEMIAN” IN PRAGUE. BOHUMIL KUBIŠTA AS A SOCIAL CRITIC

EPISTEMISCHE STILE DER VERGEGENWÄRTIGUNG. FRANZÖSISCHES UND UNGARISCHES MITTELALTER AUF DER PARISER WELTAUSSTELLUNG 1900

BOHEMIAN ARTISTS AND “REAL BOHEMIANS”. LIFE AS SPECTACLE IN HUGO’S “NOTRE-DAME DE PARIS” AND GAUTIER’S “LES JEUNES-FRANCE”

MEDZI PARÍŽOM A BRATISLAVOU II. FRANCÚZSKO-SLOVENSKÉ A SLOVENSKO-FRANCÚZSKE VZŤAHY VO VÝTVARNOM UMENÍ POČAS SEDEMDESIATYCH A OSEMDESIATYCH ROKOV 20. STOROČIA (2. ČASŤ – SEGMENT)

Z FRANCUSKIEJ PERSPEKTYWY – O ZSYŁCE NA SYBERIĘ RUFINA PIOTROWSKIEGO I JEJ EMIGRACYJNYM WYMIARZE