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Fotografować zaczęła podczas studiów. Był to nie tylko sposób przyglądania się światu i ludziom, ale, jak sama mówi: „również sposób komunikowania się z nimi oraz utrwalania na zdjęciach swojego wewnętrznego świata”. Jest samoukiem, nie tylko sama uczyła się fotografii, ale też wielokrotnie samodzielnie konstruowała elementy wyposażenia do swojego studia.
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Using Bill Henson’s works commissioned by the Paris Opera, the author explores the territories of connections between fine art, photography and staged events. This in turn is used for discussing the problematic question of reception in art, how opera performances (and other forms of representation) are moved outside the traditional space and used as resources for secondary art objects. Analyzing the relationship between the multiple types of art gives way to understanding the contemporary artistic productions, confronted with issues like simultaneity, pictorial representation and emulations into new mediums for “traditional” expressions of art.
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Albert Kahn – francuski milioner, bankier i filantrop postanowił na początku XX wieku stworzyć niezwykłą kolekcję „Archiwum Planety”. Wykorzystał do tego nowatorską metodę braci Lumie`re (francuskich wynalazców, pionierów kinematografii), którzy w 1903 roku odkryli technikę autochromu – rejestrowanie barwnych obrazów na płytach szklanych w postaci diapozytywów. Doskonalili ją przez kilka lat, by w końcu uruchomić masową produkcję płytek. Albert Kahn w 1909 roku wysłał kilkunastu fotografów do 50 krajów na całym świecie, by utrwalali życie codzienne i ważne momenty o charakterze historycznym. Praca nad kolekcją trwała 22 lata, w tym czasie wykonano 72 tysiące fotografii ludzi ze wszystkich zakątków Ziemi. Przedstawiamy cząstkę tego największego zbioru kolorowych fotografii z początku XX wieku – dotyczącą I wojny światowej. Z plamek w czterech podstawowych barwach powstały niezwykłe obrazy z wojennego zaplecza Francji. Obecnie cała kolekcja znajduje się w Muzeum Alberta Kahna w Paryżu.
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Izabela Nowak zajmuje się zarówno fotografią inscenizowaną, jak i fotografią ulicy. Prezentowane w galerii WIĘZI prace (s. 15, 29, 47, 61) powstawały w latach 2010–2011. Tak komentuje je sama autorka: „Fotografia ulicy jest dla mnie sztuką zatrzymania emocji towarzyszących konkretnej chwili.
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Ottlik életmûvét vizsgálva feltûnô és szembeötlô jelenség, hogy írásainak fôszereplôi majdhogynem mind mûvészek. Noha e mûvészkarakterek közt találunk írót (Medve Gábor, Szebek Miklós), zenészt (Jacobi Péter) és festôt, mégis úgy gondolom, az utóbbi tevékenységforma, vagyis a festészet és ezzel összefüggésben a képzômûvész létforma kiemelt helyet foglal el az életmûben, amit mi sem bizonyít jobban, mint hogy három publikálásra szánt regényének (HAJNALI HÁZTETÔK, ISKOLA A HATÁRON, BUDA) fôszereplôi mind festôk, vagy éppen festônek készülnek. Ugyanígy festô a fôszereplôje a SZERELEM és a LA CONCEPCIÓN címû novelláknak is.
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The focus of this paper is the rediscovery of the subjective meaning of milieu through the example of the architectural photographer Arne Maasik’s city photography. In the article, the meaning of the phenomenological embodied terms ‘milieu’ and ‘atmosphere’ are studied, offering the opportunity to unite, in a useful way, interdisciplinary human geography and pictorial theories into landscape representation. The purpose is to point out embodied self-realisation in the milieu of the landscapes, highlighting the value of the subjective milieu approach for the planning practice of the heritage preservation-oriented milieu.
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The focus of this paper is the rediscovery of the subjective meaning of milieu through the example of the architectural photographer Arne Maasik’s city photography. In the article, the meaning of the phenomenological embodied terms ‘milieu’ and ‘atmosphere’ are studied, offering the opportunity to unite, in a useful way, interdisciplinary human geography and pictorial theories into landscape representation. The purpose is to point out embodied self-realisation in the milieu of the landscapes, highlighting the value of the subjective milieu approach for the planning practice of the heritage preservation-oriented milieu.
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A list of foreign acquisitions concerning photography of the Library of the IS PAN in 2003. Digitalized and reedited material
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Recollection of the historian of the 19th century photography Uwe Steen (1938-2002). Digitalized and reedited material
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This article is about the constitution and appearance of an early album, dating from around 1860, designed for the safekeeping and displaying of photographs as exemplified by a number of almost identical copies from the ‘Kosmos’ antique bookshop in Warsaw, the Warsaw Historical Museum and Museum für Kunst und Gewerbe in Hamburg (ills. 3-5). Photographic albums of this kind first appeared in Paris in 1858 as a result of the great popularity the photographs of cartes de visité format, patented by André Adolphe Eugenie Disderi in 1854. The first establishments producing such albums were likely to have been found in France, which by 1864 had also arisen in Berlin and Offenbach am Main. Until the mid-1860s such albums were used exclusively for photographs of cartes de visité type. Digitalized and reedited material
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This article deals with 53 amateur photographs presented as a gift to general Józef Haller, leader of the Polish army in emigration in France in 1918-19, by captain Marian Dienstl-Dąbrowa, a journalist, art critic and publisher of the fortnightly publication ‘Żołnierz Polski we Włoszech’ (The Polish Soldier in Italy, 1919). Dienstl-Dąbrowa was the first commander of a Polish solders’ camp set up at December 1918 to April 1919 in La Mandria di Chivasso near Turin. The photographs under discussion (ills. 10-11) mainly depict scenes from life in this camp, which continued to function until April of the following year. The authoress devotes most attention to four pictures of decorative diplomas (ills. 6-9) painted by a Polish painter, Edward Okuń (1872-1945), who was living in Rome at that time. These diplomas were awarded to the donators of standards to the Polish regiments formed in Italy. The ‘Pro Polonia’ committees from Milan and Turin which founded the standards of the regiments named in honour of Guiseppe Garibaldi and Adam Mickiewicz received diplomas that featured likenesses of their patrons, together with a female personification of their Polish fatherland known as Polonia (ills. 6, 9); the town of Chivasso, which donated the standard to the Zawisza Czarny regiment got a diploma decorated with a knight’s helmet (ill. 8), while for the National League from Milan there was the diploma of the White Eagle with panoplies in the form of scythes arranged to stand on end (ill. 7). The photographs in Haller’s album provide the only testimony that these diplomas ever existed. Digitalized and reedited material
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Book reviev: Leszek Machnik, Fotografie powstańców styczniowych w zbiorach Gabinetu Grafiki Zakładu Narodowego imienia Ossolińskich. Katalog, Wrocław, Towarzystwo Przyjaciół Ossolineum, 2002 (Leszek Machnik, Photographs of the January Insurgents in the collection of the Gabinet Grafiki Zakładu Narodowego imienia Ossolińskich. Catalogue, Wrocław, Towarzystwo Przyjaciół Ossolineum, 2002). Digitalized and reedited material
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Photographic exhibitions in Poland in 2003 Digitalized and reedited material
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