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1

Sociální a ekonomické aspekty sochařské tvorby v Praze v 17. a 18. století

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Savická P.

Umění (Art)

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2020

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vol. 68

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issue 2

126-138

EN

The social history of the artist has for some time been a focus of interest in art history, but in many branches of the discipline the fragmentary nature or total absence of sources makes it a subject difficult to tackle coherently. The results of research on Bohemian Baroque sculpture are concentrated primarily in general syntheses, monographs on individual artists, and typologically orientated catalogues. Interest in the Baroque sculptural workshop represents another distinctive research line. Details of the social and economic background of sculptors partially rises to the surface in such studies, but systematic analysis, supported by a reasonably large amount of statistically interpretable information, is still lacking. The article therefore outlines the whole wide range of questions and research possibilities concerning the social and economic status of Prague sculptors, with some reference to other Bohemian and Moravian towns and developments abroad. Recent similarly orientated publications about Prague painters mean that there is now a prospect of comparison of the data obtained from tax registers, and potentially a more precise comparison of income for commissions and ultimately standard of living. The text considers several themes that can be at least partially illuminated from surviving written sources: guilds and other institutions regulating the professional lives of artists; the property of sculptors, above all house ownership, which was a fundamental precondition of higher social status and rights; fees paid for works and difficulties in comparing them. Last but not least there is the evidential value of material sources, above all the statues themselves, but also stylised representation of sculptors’ workshops in painting of the period. The article presents a summary of research to date in the field of the social history of Prague sculptors and suggests possible starting points for further research especially with an eye to data that can be quantitatively processed and the limits of its use.

CS

Sociální dějiny umělce již delší dobu zaujímají nezpochybnitelné místo v uměleckohistorických studiích, z důvodů fragmentárního dochování nebo úplné absence pramenů však zůstává jejich uchopení v mnoha odvětvích dějin umění obtížné. Výsledky výzkumu českého barokního sochařství jsou soustředěny především v obecných syntézách, monografiích jednotlivých umělců a typologicky zaměřených katalozích. Výraznou badatelskou linii představuje také zájem o barokní sochařské dílny. Podrobnosti společenského a ekonomického zázemí sochařů částečně vyplývají v těchto studiích na povrch, systematická analýza, podpořená mimo jiné větším množstvím statisticky interpretovatelných informací, však doposud chybí. Článek proto představuje nástin širokého okruhu otázek a možností výzkumu zaměřeného na sociální a hospodářské postavení pražských sochařů s orientačními přesahy do jiných českých a moravských měst i do zahraničí. Zejména díky recentním podobně zaměřeným publikacím věnovaným pražským malířům se nabízí srovnání údajů získaných z berních katastrů, otevírají se možnosti přesnějšího srovnání dílčí výdělků a v konečném důsledku i životní úrovně. Text sleduje několik témat, která je možné alespoň částečně podchytit v dochovaných písemných pramenech: problematiku cechů a dalších institucí regulujících profesní život umělců; majetek sochařů, především vlastnictví domu, které zásadně podmiňovalo společenské postavení a práva; odměny za díla a obtíže spojené s jejich komparací. Vypovídací hodnotu mají v neposlední řadě také hmotné prameny, především samotné sochy, ale i stylizovaná ztvárnění sochařských dílen v dobové malbě. Prezentovaná studie shrnuje dosavadní výzkum v oblasti sociální dějin pražských sochařů a naznačuje možná východiska dalšího bádání zejména se zřetelem ke kvantitativně zpracovatelným údajům a limitům jejich využití.

2

Italian sources of Norwid’s sculptural imagination

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Łapiński Z.

Studia Norwidiana

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2017

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vol. 35 English Version

5-22

EN

The article deals with metaphors and sculptural themes in Norwid’s literary work against the background of 19th-century sculpture theory and practice. The analysed examples include fragments of three poetic works (Ziemia [Earth], Klaskaniem mając obrzękłe prawice… [With right hands swollen from clapping...], Polka) and one novel (“Ad leones!...”). It also outlines the main problem: why both the scholars studying Norwid’s works and poets define his style of writing as a sculptural style.

3

Warsztat Willema van den Blocke w świetle akt gdańskiego cechu murarzy, kamieniarzy i rzeźbiarzy

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Skibiński F.

Biuletyn Historii Sztuki

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2010

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vol. 72

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issue 1-2

85-92

EN

The activity of Willem van den Blocke’s sculpture workshop in Danzing and its cooperation with the guilds of masons, stonemasons, and sculptors is discussed. Archival records preserved at the State Archive in Gdansk are scrutinized.

4

O pochodzeniu późnogotyckiej figury Chrystusa Męża Boleści w kościele parafialnym w Wolbromiu

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Horzela D.

Biuletyn Historii Sztuki

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2009

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vol. 71

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issue 3

271-280

EN

In the Church of Corpus Christi of the Regular Canons in Cracow’s Kazimierz, a Gothic retable was founded, most likely for the high altar, to be replaced with a new one in the 17th century. It can be supposed, however, that not all the pieces of the Gothic retable were destroyed. The Author presumes that the figure of Christ, a Man of Sorrows, from St Catherine’s Church at Wolbrom, to-date identified as Baroque, comes from that unpreserved retable. The analysis of the sculpture forms demonstrates that it was executed in the 1460s. The origins of the sculpture is confirmed by the construction date of the Wolbrom church (1635), which coincided with the modernization of the church in Kazimierz. What both churches have in common is the involvement of Jan Gelazy Żórawski, who first contributed to the refurbishing of the Church of Corpus Christi and later to the decor of the Wolbrom church. The assumption that the Wolbrom statue comes from the Kazimierz church is also confirmed by its iconography: the full-figure Man of Sorrows presentation popular in Lesser Poland in 1440-60.

5

Between Haptics and Kinaesthetics: Body Experience in Some Contemporary Theories of Sculpture

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Trzeciak K.

Estetyka i Krytyka

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2015

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issue 1(36)

151-162

EN

The text deals with the question about the perception of sculpture which is this kind of plastic art in which all human body is engaged in the process of perception. In Katarzyna Kobro’s and Władysław Strzemiński’s Composition of Space (1931) we can read that sculpture is a way of space organisation. The experience of sculpture is not (as in painting) based on looking or understanding, but on the feeling of spatiotemporal motion. Oscar Hansen also emphasised the role of psychophysical activity in contact with sculpture and went a step further than Kobro i Strzemiński experiencing the impact on the human body different sculpting materials. In William Morris’s Notes on Sculpture (1966–1969) sculpture exists only in subjective, corporal way of experience, away from consciousness and discursive association. All those theories and their artistic concretizations redefines the role of the viewer of artifact and extend the Classic concept of sculpture as an art close to the body. In a number of contemporary sculpture this is not the model’s body that is the most important. Rather they deals with viewer’s body which is increasingly drawn into artistic representation.

6

Katarzyna Kobro. A Vision of the Open Sculpture

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Kuczyńska A.

Dialogue and Universalism

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2018

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issue 1

115-124

EN

The paper is on Katarzyna Kobro’s artistic achievements and theoretical writings which present the foreshadowing of a new understanding of the space, articulated later by philosophers. Her and her husband conception of avant-garde sculpture postulates new mechanisms of seeing reality. By eliminating borders between sculpture and space, Kobro initiated a true breakthrough in art. Her achievement should be recognized for its truly pioneering and visionary status. Kobro was one of the first artists who revealed the intimate relation between art and its environment.

7

Orzeźbianie przestrzeni. Galeria rzeźby w Poraju

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Kal E.

Estetyka i Krytyka

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2016

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issue 3(42)

23-50

EN

The paper provides a description of how the sculpture gallery originated in Poraj, Pom- erania, a culturally barren land in the post-state farm environments, in the vicinity of Łeba, the local tourist hub of popular entertainment. It began with the donation of sculptures from the Academy of Fine Arts in Gdańsk by Marcin Plichta, Tomasz Radziewcz, Tomasz Skórka, Tomasz Sobisz and Mateusz Stankiewicz. The gallery soon expanded after the works of other Gdańsk artists had been gifted. These included the sculptures by the acknowledged Sławoj Ostrowski and by the debutant, Mariusz Burdek. All the same, most of the exhibits in the Park of Poraj have been created during the outdoor sculpture events since 2009, attended by Christos Mandzios from Wrocław, Anna Szalast from Warsaw, Tomasz Sobisz, Rafał Synowiec from Lębork, Jan Tutaj from Cracow, Mariusz Białecki from the Academy of Fine Arts in Gdańsk, Michał Rosa from Ustka, Jarosław Pajek from Orońsko and Marek Rogulus – Rogulski from Gdańsk. Thus, apart from hosting figural park sculptures, the gallery also includes abstract works corresponding with the settings in both form and substance, as well as envir- onmental arrangements and effects of artistic actions. Since the gallery operations also include educational and disseminating activities, the space sculpting theme is not limited to the physical area occupied by art, but also dwells in the mental area of spectators’ awareness, particularly with regard to members of the local community. It can be interpreted as an extension of Joseph Beuys’s concept of social sculpture, according to which every individual can arrange their surroundings, environs, etc. In this case, an open sculpture gallery affects the space and the thinking process, both physically and symbolically [trans. J. Przybył].

8

Art, Memory and Angel by Czesław Dźwigaj

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Wijas J.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione

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2018

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vol. 13

19-28

EN

The article analyses the process of implementing the idea of commemorating the victims of December 70 in Szczecin. Disputes, discussions and decisions accompanying this monument are doubly symptomatic: they reveal a problem with the presence of contemporary art in public space, and the question of who and what should be the main purpose of commemorative sculpture. After 1989, the Szczecin agora reflected the political transition of the state, additionally characterised by the “short duration” complex (existence as a “Polish city” only after 1945). Art plays a role in ordering (and subordination) of public sphere, and, as such a tool (building politically handy identity symbols), it is perceived by the authorities. Its specificity, however, allows it to escape social and political control. The second area of consideration is the analysis of the relationship between commemorative function (desired by the founders) and the operation of contemporary art, in reference to the theory of cultural forms of memory. The three-dimensional urban game of visibility was played out in Szczecin around three public sculptures: two unrealised designs, and the final work by Czesław Dźwigaj.

9

Wiersz, czyli sytuacja rzeźbiarska O materialności Kordu Natalii Malek

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Trzeciak K.

Śląskie Studia Polonistyczne

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2018

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vol. 11

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issue 1

191-200

EN

The article is an attempt at providing an interpretation of Natalia Malek’s work Kord in the context of sculpture and materiality. Starting from outlining a definition of a sculpture as a situation and a meeting, the author tries to demonstrate how a poetical language stages the sculptural, departing from the tradition of concrete poetry in favour of openness and potentiality of a poem. The essential contexts for the following argument are both elements of the study of objects and the feminist approach to corporality, which stimulate thinking in terms of the matter and materiality and enable us to interpret Malek’s project as addressing dualisms of Western metaphysics, as well as calling for a different type of reading. The category of “material vision” (de Man) is for the author of the article a point of departure, however, in result, it turns out to be insufficient and gives way to the project of reading understood as a “sculptural situation”.

10

O niektórych figurach w polskich nagrobkach XVI-XVII wieku

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Karpowicz M.

Biuletyn Historii Sztuki

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2010

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vol. 72

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issue 1-2

31-60

EN

The author summaries his article on the basis of the following four parts: 1. The semi-reclining form of representational sculpture was introduced in the territories of preparation Poland by the somewhat secretive Italian sculptor “Johannes Piaentinus”. It possible to confirm his presence in Poland during the years 1555-65. Piaentinus exerted an essential influence on Cracovian sculpture in the second half of the 16th century. 2.The Bernardine church in Lublin contains a tombstone mistakenly identified as well as dated, to the year 1598. In actual fact, it was created by Gerolamo Canavesi in 1565. 3. The most beautiful Polish tombstone figure is to be found in the town of Czarnków (Poznań voivodeship), which dates back to around 1570-80 and represents the magnate Maciej Czarnkowski. 4. The figures from the church at Kórnik near Poznań have been associated with the Flemish sculptor, Hendrik Horst, when in actual fact just one of these was a work of his, while the other two would have been created by other sculptors.

11

Danzig am Mittelmeer. Die Bronzeskulptur des Neptunbrunnens – Ikonographie, Bilderfindung und Bedeutung

88%

Boesten-Stengel A.

Artium Quaestiones

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2015

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issue 26

35-62

PL

The bronze statue of Neptune (around 1615–20) in the Long Market (Długi Targ) in Gdańsk unifies two opposed antique prototypes, a contrapposto figure which shows the god Neptune peacefully resting, and a dynamic figure applying the trident, his weapon, in combat. The new combination represents mimetically the changeable nature of the god’ s liquid sphere, the sea. In its artistic invention the statue manifests such an exact knowledge and familiarity with the study of antiquity and the artistic methods from Michelangelo Buonarroti until to Giambologna (Jean Boulogne, 1529– 1608), that we have to look for the artist among those trained in sixteenth Century Florence. Among the works of the Dutch Hubert Gerhard (1550– 1620), trained until to 1581 in Florence in the circle of Giambologna and later active in Augsburg and Munich as a leading Northern Mannerist artist, the Archangel Vanquishing Lucifer (1588) at the facade of St Michael’s Church (M unich) comes most close to the movement expressed in the Gdańsk Ne ptune.

12

Inspirations by plant in the decorative motifs of St. Mary’s Basilica in Kraków (Poland)

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Brišová A.

Annales Universitatis Paedagogicae Cracoviensis Studia Naturae

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2019

7-30

EN

The aim behind this study was to identify the plants which are the floristic motifs of ornaments inside of Church of Our Lady Assumed into Heaven in Kraków. The art techniques used in ornaments submitted to the analysis were: paintings, sculptures and stained glass-works. The analysis was based on the photographs of various parts of the St. Mary's Basilica taken between 2017 and 2018. Identified species of plants were presented in the table. In the analysis performed here, the author was focused on the symbolism of chosen floral art motifs, since the artist’s botanical knowledge was not the only inspiration for utilising such decorations. Due to its symbolism, the motif of flowers was commonly used in the religious art, highlighting the dignity and majesty of this beautiful place of worship. Even though the meaning of plants as a symbol often depends on the cultural basis in which the work is done, there are some examples of plants that are widely known as religious symbols by everyone.

13

Poezja na wosku traconym w brązie – literackie, filozoficzne i muzyczne konteksty rzeźby Lidii Sztwiertni

88%

Rączka T.

Postscriptum Polonistyczne

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2012

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issue 1(9)

243-251

EN

The theme of the article aims at interpreting the artistic creativity of Lidia Sztwiertnia – the sculptress from Bielsko-Biała – in the context of the philosophy of ‘multiplicity and unity of arts’. Multidimensional character of Sztwiernia’s sculpture has been underlined here along with its variety rooted in many disciplines – literature, philosophy and music – that results in creating a kind of ‘poetic spectacle’ of form and meaning. Commentary to this creativity is indicated here by poetic imagination.

14

Rzeźbiarz i filozof. Constantin Brâncuşi w interpretacjach Constantina Noiki

76%

Zawadzki A.

Przestrzenie Teorii

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2018

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issue 29

EN

The article Sculptor and philosopher deals with the Romanian thinker Constantin Noica’s interpretations of Constantin Brâncuşi’s work. These interpretations are presented with regard to Noica’s philosophical concepts, in particular his reflections on Romanian culture and the sense of being manifested within it. Of fundamental importance in his interpretations is the category of becoming within being – the most important idea developed by Noica and which he applied in many fields of philosophy.

PL

The article Sculptor and philosopher deals with the Romanian thinker Constantin Noica’s interpretations of Constantin Brâncuşi’s work. These interpretations are presented with regard to Noica’s philosophical concepts, in particular his reflections on Romanian culture and the sense of being manifested within it. Of fundamental importance in his interpretations is the category of becoming within being – the most important idea developed by Noica and which he applied in many fields of philosophy.

15

EFFECTS OF INNOVATIVE APPROACHES IN CLASSES ON STUDENTS' SUCCESS

75%

UZ N., CIMENCI H.

Journal of Education Culture and Society

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2018

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vol. 9

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issue 2

203-217

EN

ABSTRACT Concept: Drawing is the foundation of plastic arts. The drawing class is one of the art education fields where students focus on observation, questioning, research and developing imagination. It can be seen that artists too are presenting different premises after drawing, which is generally considered as a preliminary to a work of art, being acknowledged as art by itself. Aim: The point of origin of this research is the inability of the students of sculpture departments to fully comprehend the importance of drawing with regard to the creating of a sculpture. The principal purpose is the explaining of the applied studies that are specifically designed to develop individual perspectives, drawing skills, personal lines and creativity of the students and the alternative methods of drawing which yield positive result. Methods: Instead of repeating the knowledge that students obtained via traditional methods, studies are approached where they can reinterpret and develop their knowledge in respect of the time, technique, perception etc. Drawings that are presented in line with the main purpose via innovative approaches are evaluated with a qualitative research. Conclusions: After briefly mentioning education and art education in this study, methods applied with an innovative approach in sculpture design courses are explained through selected examples. At the end of the studies, it was seen that the students were more active, eager to learn, courageous, questioning and every time they are applied, methods are resulted positively.

16

Macieja Szańkowskiego obłaskawianie przestrzeni

75%

Chrudzimska-Uhera K.

Biuletyn Historii Sztuki

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2020

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vol. 82

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issue 1

161-168

PL

Recenzja katalogu wystawy autorstwa Anny Marii Leśniewskiej "Maciej Szańkowski. Wieloprzestrzenie / Mulispaces (Orońsko: Centrum Rzeźby Polskiej w Orońsku, 2019).

17

Stawanie się ku bytowi

75%

Noica C.

Przestrzenie Teorii

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2018

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issue 29

EN

Brâncuşi’s sculpture “Endless Column” in Târgu Jiu was interpreted by Constantin Noica as an artistic expression of the ontological vision characteristic of the Romanian sense of being. It brings together two great philosophical categories, traditionally seen as mutually exclusive: static being and dynamic becoming. Noica proves that Brâncuşi’s sculpture is unique in the way it illustrates “becoming into being” (Romanian = Devenirea întru fiinţa), the fundamental term in Noica’s ontology.

PL

Brâncuşi’s sculpture “Endless Column” in Târgu Jiu was interpreted by Constantin Noica as an artistic expression of the ontological vision characteristic of the Romanian sense of being. It brings together two great philosophical categories, traditionally seen as mutually exclusive: static being and dynamic becoming. Noica proves that Brâncuşi’s sculpture is unique in the way it illustrates “becoming into being” (Romanian = Devenirea întru fiinţa), the fundamental term in Noica’s ontology. Przełożył Andrzej Zawadzki.

18

Humor jako element strategii artystycznej - Erwi Wurn i jego dzieła

75%

Śnieciński M.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2015

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vol. 19

130-144

EN

Humor is in the very center of E. Wurm’s art strategy. He believes that ‘humor is a weapon’. It is the weapon that allows us to see the world and ourselves without pomposity and solemnity masking the real problems. Humor forms the distance to a variety of phenomena, myths and stereo-types which model modern life. Laughter always includes the form of self-distance (H.G. Gadamer). The text analyzes a series of sculpture-events entitled ‘One Minute Sculptures’ and other works by the Austrian artist produced in traditional carving techniques. They include such elements of humor as ludus and locus (G. Agamben). The text also analyzes the artist’s actions that undermine subjective – objective diagram inscribed in creation and art perception (W. Welsch). It is not without significance that Wurm’s humor and irony are not directed only toward his environment, but also toward himself (self-irony).

19

Afrykański rynek antykwaryczny. Między autentycznością a komercją. Przypadek Dogonów i Sombów

75%

Buchalik L.

Afryka

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2018

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issue 47

101-126

EN

The emergence of mass tourism has resulted in changes taking place in the art of West African peoples. As a result, the demand for “original African souvenirs” has increased and practically industrial, mass production of “African art” has emerged. This phenomenon has been analysed on the example of two peoples strongly influenced by tourists (the Dogon and Somba people) and peoples moderately affected by this phenomenon. Changes can be clearly seen when comparing the art of the peoples of West Africa from the beginning of the 20th century, when there mass tourism did not exist, with the art of the early 21st century. Some of them arise from changes taking place inside a given culture as a result of a natural transformation process. Others arise from external changes caused by a mass interest in the art and works of local craftsmen. Masks and sculptures — the main objects of interest for visitors looking for an attractive souvenir — are changing as a result of customer expectations. Artisan art, most frequently encountered by tourists, although referring to the traditional art of peoples visited by them, responds primarily to the tourists’ demands. Some products are inspired by the tastes of the visiting tourists. In order to sell the products, a craftsman has to react quickly to the customer’s needs. The object of traditional art with all its rich symbolism has been taken out of the country of origin; it has become not a souvenir of a stay in the visited area only, but of a visit to Africa as such. A problem has recently arisen as to what is a copy and what is an original work of art. In the concept of European art, there is only one original work — every other object that looks the same is a copy or a forgery. In artisan art and museums there are many similar masks, sculptures and other objects with artistic qualities, differing only in terms of details and precision, and yet an ethnologist will not refer to them as counterfeits.

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Mieczysław Wallis w poszukiwaniu piękna - impresje z podróży

75%

Zegzuła-Nowak J.

Kultura-Społeczeństwo-Edukacja

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2015

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vol. 8

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issue 2

91-99

PL

The article presents impressions from research expeditions of polish 19th century scholar - Mieczysław Wallis . This aesthetician, philosopher and historian of art was a great beauty lover. So, in his travels around the country and abroad he searched manifestations of the beauty in: architecture, painting, sculpture and formations of nature as well. His handwritten notes which contained his memories from these journeys are very important and intellectually atractive reading.

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Sociální a ekonomické aspekty sochařské tvorby v Praze v 17. a 18. století

Italian sources of Norwid’s sculptural imagination

Warsztat Willema van den Blocke w świetle akt gdańskiego cechu murarzy, kamieniarzy i rzeźbiarzy

O pochodzeniu późnogotyckiej figury Chrystusa Męża Boleści w kościele parafialnym w Wolbromiu

Between Haptics and Kinaesthetics: Body Experience in Some Contemporary Theories of Sculpture

Katarzyna Kobro. A Vision of the Open Sculpture

Orzeźbianie przestrzeni. Galeria rzeźby w Poraju

Art, Memory and Angel by Czesław Dźwigaj

Wiersz, czyli sytuacja rzeźbiarska O materialności Kordu Natalii Malek

O niektórych figurach w polskich nagrobkach XVI-XVII wieku

Danzig am Mittelmeer. Die Bronzeskulptur des Neptunbrunnens – Ikonographie, Bilderfindung und Bedeutung

Inspirations by plant in the decorative motifs of St. Mary’s Basilica in Kraków (Poland)

Poezja na wosku traconym w brązie – literackie, filozoficzne i muzyczne konteksty rzeźby Lidii Sztwiertni

Rzeźbiarz i filozof. Constantin Brâncuşi w interpretacjach Constantina Noiki

EFFECTS OF INNOVATIVE APPROACHES IN CLASSES ON STUDENTS' SUCCESS

Macieja Szańkowskiego obłaskawianie przestrzeni

Stawanie się ku bytowi

Humor jako element strategii artystycznej - Erwi Wurn i jego dzieła