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1

THE LATEST POLISH DEVELOPMENTS IN CHURCH STAINED GLASS ART (Najnowsze polskie witraze sakralne)

100%
Zychowska M.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2008
|
vol. 1
124-138
EN
The paper presents an overview of recent Polish stained glass developments rather than a certain category of artists and works of well-known stained glass studios, which would certainly imply a subjective evaluation and a falsification of the actual state. The quality and overall image of this field of art are not determined only by individual artistic achievements, especially when they constitute a definite minority. Analysis of the latest Polish stained glass art should include its specificity and dissimilarity in relation to the parallel foreign achievements. These differences relate primarily to technological issues. A wide range of accomplishments, great formal variety, scope and scale as well as apparently continued development which characterize Polish stained glass give it a high place in European art.
2
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Czego można nauczyć się od artystów w dziedzinie rozwoju kultury?

100%
Kaśkiewicz K.
Filo-Sofija
|
2007
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vol. 7
|
issue 7
111-120
EN
In the article I endeavour to reconstruct the notion of culture given by Friedrich Schiller in the eighteenth century – the time when “culture” meant the same as “etiquette” or “politeness”. Schiller understands culture as a certain capability of inhibition of anarchy of animal drives and of tyranny of human reason. Thus culture is a necessary condition of preserving one’s freedom as well as of respect for freedom of others.
3
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INTRODUCING ICORN – THE CITY AS A SANCTUARY

100%
Różańska-Braniecka M.
Studia Migracyjne - Przegląd Polonijny
|
2017
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vol. 43
|
issue 3(165)
145-155
EN
This report aims to introduce an organisation called the International Cities of Refuge Network (ICORN). Derived from the Sanctuary Movement, ICORN assists refugee artists around the world. The Sanctuary Movement was developed in the United States and Canada as a network of over 500 safe havens for Central American refugees. From the 2000s on, the movement focused more on moral injustices in the national immigration system and sought to confront global injustices on local levels. In turn, in the UK and Ireland the City of Sanctuary movement started in 2005 and turned into a network of over 60 towns and cities proud of being safe places for people seeking sanctuary and helping them to integrate in the local communities. Each ICORN city focuses on one writer/artist at a time and provides him/her with a safe place to stay and economic security for a standard term of two years. Currently, over 55 cities worldwide are part of the network (ICORN 2016).
4

EMOTIONS AND FAMILIARITY OF CONTENT IN GENERATIVE PROCESSES OF PROSPECTIVE ARTISTS

88%
Ristić I. J., Milošević M.
Studia Psychologica
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2022
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vol. 64
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issue 4
256 - 370
EN
Relations between creativity, dimensions of emotional experience (valence and arousal), and familiarity of content were examined in an experiment with 92 students, grouped into two sub-samples: art and non-art students. For stimulation, 40 photos were selected from the Nencki Affective Picture System, so that the values of the dimensions were systematically varied. Students were exposed to the photos and asked to rate the familiarity of their content, and then to generate a creative title for each of them. Measuring creativity was based on the coefficients, specially constructed and derived from the assessment of titles’ originality. The analysis shows that valence, arousal, and familiarity might be the predictors of creativity and that unpleasant and novel content induces more creative answers. Generative processes of art-students show certain peculiarities: they are more sensitive to the external clues, especially novel and disturbing, which might be explained by the action model of creativity.
5

ALBRECHT DUERER AND EASTERN EUROPE

63%
Smith J. C.
ARS
|
2009
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vol. 42
|
issue 1
5-22
EN
The article deals with Albrecht Duerer's relations to Eastern Europe - direct and indirect dealings of the Nuremberg based artist with artists and patrons from Poland and Prussia to Hungary and Romania. The essay is intended merely as an introduction to the topic and to some of the issues the subject raises, for example Nuremberg's international business ties, direct links to Eastern European patrons (e.g. Johannes Thurzo, bishop of Breslau), influence of Duerer's prints (e.g. on the Apocalyptic Virgin and Child Epitaph, c. 1520 (?), now in the Slovak National Gallery in Bratislava), activities of Nuremberg's artists in Eastern Europe (e.g. Veit Stoss in Krakow) or questions of the collectible Duerer (e.g. Feast of the Rose Garland obtained by the emperor Rudolf II in 1606).
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