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MONUMENTS OF NAPOLEON INTENDED FOR KALISZ AND WARSAW DESIGNED BY C.P. AIGNER

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Polaczek J.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 3-4
359-381
EN
The Duchy of Warsaw marked a period full of vivid and dynamic political events, but it can hardly be included among the most interesting in the history of Polish art. The first specific designs (confirmed by source documents) were plans for erecting a monument to Napoleon emperor, together with a specially laid square in the provincial town of Kalisz, near which the II Division of the Army was stationed. Its leader was General Józef Zajaczek, famous for his obsequiousness towards the French military authorities. Desiring to reinforce his position vis-a-vis the Minister of War, Prince Józef Poniatowski, in 1808, the concept of erecting such a monument was accepted by Marshal Davout (cf. Boulogne-sur-Mer monument). Chrystian Piotr Aigner prepared visualisations, based on Trajan's column in Rome, but construction was halted in its early stages by the outbreak of war in 1809. A national project was brought up in 1812 as a result of the commencement of the Moscow Campaign, whereby a Napoleoon Monument was to go up in the 'Saxon Courtyard' in Warsaw (recorded in a watercolour, attributed to Zygmunt Vogel). Once Napoleon's fall became a foregone conclusion, some of the same people who had so adulated the emperor of the French began collecting funds to erect a monument in adoration of the Russian tsar, Alexander I. However, he refused to grant permission for the erecting of a monument with his likeness, as a result of which a Roman Catholic church bearing his name was built on Warsaw's Three Crosses Square. The architect was ... C.P. Aigner.
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ALMOST A MONUMENT - ALMOST A REMEMBRANCE (Prawie pomnik - prawie pamiec)

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Lesniakowska M.
Ikonotheka
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2007
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issue 20
147-159
EN
The article concerns the issue of contemporary monumental sculpture viewed as narration. Comparison is drawn between two monumental structures, both erected in Europe and both referring to the WW II: the Memorial to Warsaw Uprising (Warsaw, 1979, Andrzej Domanski, constructed for the 35th anniversary of the outbreak of the Uprising), and the Memorial to the Murdered Jews of Europe (Denkmal für die ermordeten Juden Europas), also known as the Holocaust Memorial (Berlin, 2003-5, Peter Eisenman). The authoress presents these structures as illustrations to two different models of representing history. Those models, functioning with the sphere of the 'policy of remembrance', are viewed as two opposing historiographic schemes. She finds the monuments to be an expression of the discourse on monuments functioning as texts in the public space, related to Dominick LaCapra's theory of history as memory and Frank Ankersmit's Narrativism, and on this basis conducts an analysis of both structures as historiographic texts. The reading of the Warsaw monument, which was erected in the Communist period, demonstrates that its chief category is 'the memory of forgetting' and that it is a memorial to the 'other hero'. Its true subject / 'hero' turns out not to be the Warsaw Uprising at all. Instead, this monument is the demonstration of the propaganda of the People's Republic of Poland, the then 'manager of memory'. The idea of the pseudo-abstract form of this 'almost a monument' refers to the manner in which the memory of the Warsaw Uprising was viewed by the authorities: as an experience which can essentially be erased, removed from history or presented in an ideologically appropriate manner. The persuasive power of the monument was aimed at 'teaching' the viewer-recipient to perceive the appropriate historiographic vision. It is, therefore, the monument to the killers, not to the victims. Applying the method of 'inverted reading' of this memorial as a historical narrative, the authoress demonstrates that this 'almost a monument' has also a meaning which was not conceived by its creators. It can be, in fact, interpreted as the memorial to those who are absent and excluded, and hence as a disguised memorial to the victims. The Memorial to the Murdered Jews of Europe is an antithesis to the Warsaw monument. Its main idea is also based on the 'management of memory', the ideologisation of the city space and the hermeneutics of a monument as a text, but understood from an entirely opposite point of view. There, the perception of the past is understood as 'remembering to remember' (Ankersmit).From the formal point of view, both monuments seemingly display similar features of style (minimalism, abstract art and geometry - radical representations of a symbolic form); yet the aesthetic narration of these two memorials brings about different results. Interpreted as two models of representing, interpreting and evaluating history (historiography), these memorials refer not to the past itself, but to the present day's manner of looking at the past.
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TURNING SITES OF MASSIVE REPRESSIONS INTO MEMORIALS

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Cherkaeva O.
Muzeológia a kultúrne dedičstvo
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2018
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vol. 6
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issue 1
67 – 76
EN
This paper is devoted to memorial complexes with museum exhibits of the victims of political repressions in Russia. They took place in the 1930th. Nowadays there are two great memorial complexes. One of them is Mednoe Memorial Complex not far from Tver. The second one is Katyn Memorial Komplex situated not fat from Smolensk. They are affiliated with the State Central Museum of Contemporary History of Russia. There is one more memorial complex “Butovo Shooting Range” in Moscow region. A new museum exposition will be shown there. Its territory belongs to the Russian Orthodox Church, but at the same time, it was recognized as a historical place. Despite the form of ownership, those memorial complexes work with different categories of visitors and deal with historical memory. Being part of memorial a museum reveals its information significance.
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STATUES OF LADY JUSTICE IN HUNGARY: REPRESENTATION OF JUSTITIAIN TOWN HALLS, COURTHOUSES, AND OTHER PUBLIC SPACES

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Takács P.
Človek a spoločnosť. Internetový časopis pre pôvodné teoretické a výskumné štúdie z oblasti spoločenských vied
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2019
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vol. 22
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issue 3
11 – 42
EN
The representation of the idea of justice through the ancient Roman goddess-figure, recently known as Lady Justice, has constituted an essential part of European culture for centuries. This paper outlines these statues in town halls, courthouses, and public spaces in Hungary, and examines some of them in detail. The aim of the study is to draw a general picture of such statues in Central and Eastern European country, namely in Hungary, to identify the characteristics of these sculptures, reflecting their social and political context, and in some cases to contrast them with that of those which were characteristic in Western Europe. The nature of this study is multi and interdisciplinary, so it applies several methods in exploring its theme; for example, art and cultural history were mixed with reference to social history and legal history. The paper focuses on the legal and political culture –conceived in the cultural context, institutional prerequisites and behavioural patterns as components of law and politics –and treats statues of Justice as a part of this culture. For the sculptures in question, this study may raise questions from three disciplines: jurisprudence and law, social and cultural history, and the theory of art. The study is interdisciplinary and focuses primarily on the first and second areas and, among other things, examines the cultural-historical functions of a law-related symbol. The study goes as far as to penetrate into the field of iconology at the level that E. Panofsky referred to as the pre-iconographic description, which is the first of the three possible steps in this field. At the second step, on the level of iconographic analysis, this study turns towards social and legal meanings, since it is interested in not so much about the aesthetic-iconological analysis of the artwork, but about the socio-legal and legal-cultural meanings of certain cultural phenomena.
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EQUESTRIAN STATUES IN ANTIQUITY: CITY, PEOPLE, MONUMENTS

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Nováková L., Hrnčiarik E., Daňová M.
Studia Historica Nitriensia
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2018
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vol. 22
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issue 2
434 – 455
EN
Greek city-states formed a comprehensive social system with regard to the political and socio-economic aspects of their inhabitants. Polis, regarded as a political and religious group of people living in a particular area, had three basic components: the citizens, the political constitution and the territory. The citizens were involved in the construction of public buildings and in a number of other activities. This is probably why the role of communities, which directly defined the polis, was accentuated. At least in part egalitarian character of Greek society, dominated by Athenians, restricted the possibilities of portraying individuals. The tumultuous events of the Classical period spotlighted military commanders and politicians. This trend got stronger in the next centuries. While promoting equality, the poleis honoured beneficial acts and remarkable deeds of their citizens. Public places were filled with typified statues of “andres agathoi.” This statuary landscape of Greek cities, partially preserved in epigraphic finds, has almost disappeared. The importance of euergetism increased in the Late Classical period, becoming one of the main funding sources for the maintenance of public life. Individual citizens were rewarded with honorific inscriptions and were often granted other honours as well. The Hellenistic poleis – maintaining autonomy in the utmost sense – granted various honours and privileges to the members of royal dynasties and their close dignitaries. Particular emphasis was laid on military memorials, including equestrian statues, which became an integral part of the public monuments in antiquity.
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MAX DVOŘÁK, WILHELM VON BODE AND THE MONUMENTS OF GERMAN ART

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Blower J. B.
ARS
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2011
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vol. 44
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issue 1
92-124
EN
The article studies Max Dvořák’s role in the monumental enterprise of the Deutscher Verein fűr Kunstwissenschaft (German Society for Art Scholarship) – a comprehensive publication of German monuments (“Monumenta artis Germaniae”, from 1908). The author points out that Dvořák’s active involvement with the “Verein” and its nationalistic aim suggests a gradual personal rapprochement with some form of pan-German cultural ideology.
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EINE ANDERE MODERNE IM PARIS DER DRITTEN REPUBLIK. DIE „FONTAINES WALLACE“ UND JULES COUTANS „PORTEUSE DE PAIN“ ALS AVANTGARDE-KUNST

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Körner H.
ARS
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2021
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vol. 54
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issue 1
3 – 32
EN
The first study, which deal with works of the ‘other modernity’ of the French 19th century, deals with objects that, as multiply producible and stylistically eclectic objects, fell through the Modernist grid, although they correspond exactly to a definition of the avant-garde as formulated in the succession of Saint-Simon. The second study asks whether the iconography of “modern life”, in the sense of Charles Baudelaire’s “Le peintre de la vie moderne”, should not be added to the definition of modernity - against a limited formalist definition of modernity.
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DAS KUNSTWERK TRAUERT – DAS KUNSTWERK FEIERT. GRABMAL UND DENKMAL LUDWIG ANZENGRUBERS IN WIEN IM EUROPÄISCHEN KONTEXT

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Körner H.
ARS
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2020
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vol. 53
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issue 1
3 – 34
EN
„Sweat must freely flow“ and without the „blessing … from higher“ it is not possible anyway, but if both are given, the work praises the master. The poetic phrase from Schiller’s “Song of the Bell” could be made visible in the art of monuments and tombs. Works of art praise their creator in a monument, works of art mourn for their creator in a tomb. They belong to the staff of the accompanying figures at the memorial / grave, together with personifications, geniuses and muses. The essay tells the story of this visualization. It focuses on two monuments in Vienna: Ludwig Anzengruber’s grave of honour in the Vienna Central Cemetery (1893) and the Anzengruber monument on Schmerlingplatz, Vienna (1905) – both works by Hans Scherpe. The relationship between the work of art and the mourned / honoured artist is discussed and placed in the European context.
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POMNÍK GENERÁLA GABLENZE V TRUTNOVĚ JAKO MÍSTO PAMĚTI LOKÁLNÍHO VÝZNAMU

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Korbel T.
Mesto a dejiny
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2018
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vol. 7
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issue 1
84 – 102
EN
In this article, changes in the meanings attributed to and local relations with General Gablenz's memorial – a local monument and reminder of the 1866 Prussian-Austrian War – are observed over the period from its construction to the present. First, the role of the memorial in memory studies is presented in terms of its semiotic-content structures and three basic functions of festivities that establish its social significance. Second, the use of historical consciousness or local cultural memory is considered as a methodical concept for the study of this monument, which fulfilled a social role not at the national level, but only in the regional context within the collective memory of the local community. Third, the concept of local culture memory is applied and described from the point of view of various actors (subjects of memory places) of commemorative practices (military associations, city leaders, etc.) during the ceremonial inauguration of the monument in 1868, during the solemn deposition of General Gablenz’s relicts in the monument in 1905, and during the commemoration of the 100th anniversary of the deposition of those relicts in 2005. It is obvious that the significance of this monument as a place of memory has been shaped by the local community, but at the same time it itself became an important source of identity for this society because of its ability to preserve his living memory.
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POPULÄRE DENKMÄLER UND POPULISTISCHE POLITIK. DIE MONUMENTALISIERUNG VON „VOLKSTYPEN“ IM WIEN KARL LUEGERS

75%
Körner H.
ARS
|
2024
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vol. 57
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issue 2
112 - 139
EN
The function usually assigned/expected of the monument was impressing, intimidating, and instructing. Against this concept of the monument stands the popular monument, which does not seek to instruct, edify or intimidate, which, as in the case of the Augustin-Fountain in Vienna’s 7th district, could even place a ‘drunkard’ on the pedestal instead of ‘heroic figures’, and which was nevertheless politically instrumentalised. The article describes the monuments that were erected or planned for popular ‘Viennese types’ in the 19th and early 20th centuries and shows the connections between the ‘mythification’ (in the sense of Roland Barthes) of these ‘folk types’ and Karl Lueger’s populist politics.
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KAM ZMIZLI SOCHY LENINA A GOTTWALDA? PREMENA ČESKOSLOVENSKÉHO VEREJNÉHO PRIESTORU PO ROKU 1989

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Hudek P.
Historický časopis (Historical Journal)
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2023
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vol. 71
|
issue 1
115–145
EN
This article focuses on the situation in the public space of Czechoslovakia after the Velvet Revolution in 1989. It analyses the status and interventions on monuments and memorials built during state socialism in Czechoslovakia. Attention is given to the statues of communist leaders and their emblems (Lenin, Gottwald, Zápotocký, Militiaman, and others). The text is divided into eight interconnected parts. The first and second sections of the article explore in detail the public space in Czechoslovakia during November and December 1989 and its visual side. The other parts focus on the treatment of pro-regime monuments – their removal, destruction, and replacement. The sixth and seventh sections are dedicated to the museumization of these unwanted objects in squares and museums. The last part examines the new potential uses of statues from the period of state socialism in terms of their transformation into new representative symbols or their sale. The main aim of this article is to respond to questions related to statues and monuments used as political representations from the period of state realism and their cultural and historical role after 1989 in former Czechoslovakia. The research seeks to take a critical look at the accepted hypothesis that statues of the former regime were destroyed and more closely discusses their status after the Velvet Revolution.
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