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Uginająca się pod ciężarem owoców wiśnia w ogrodzie rodziców – to właśnie od jej zdjęcia wszystko się zaczęło. „Kiedy je wywołałem, zrozumiałem – opowiada Mirosław Kowalski – jak niezwykłym medium jest fotografia. Zobaczyłem, że oprócz drzewa, które wprawiło mnie w zdumienie, sfotografowałem swoje własne uczucia. Kiedy więc przygotowywałem się do pierwszej dalekiej podróży, było jasne, że muszę zabrać ze sobą aparat fotograficzny”. Ściśle rzecz ujmując, były to dwa aparaty z dwoma niezależnymi obiektywami. Chociaż torba fotograficzna ważyła sporo, stanowiła niezbędny ekwipunek.
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Ideological conceptions about ethnicity, nation and religious confession require new approaches through the current issue of the great European family. An approach to the history of minorities in Transylvania intercultural plan requires the submission of their role in socio-cultural Romanian. Cultural contribution of various national minorities in the Romanian cultural profile, the structure of cultural identity of this area is organized on two levels: on the one hand historical provinces create regional identity, and on the other hand the real regional identity contributes to the creation of Romanian national identity. Of course there are identities that are not related to or defined by geographical area (ed the Gypsy community). Documentary sources assess that the contribution of Roma in the common heritage is extremely low due to the exclusion of the Roma in social status, they are in a state of slavery. Like everywhere in Romania, in Transylvania can not talk about a specific territory exclusively or predominantly inhabited by Roma, as the other existing minority. Gypsy culture and civilization have a predominant symbiotic character who contributed to the common heritage (Burtea, 2002). Absence of the territory, dispersed nature of life, have led to depriving Roma of the chance to have some own religious, administrative, cultural, educational institutions, etc.. (Zamfir et all, 1993).
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Although Rimantas Dichavičius works fruitfully in various fields of art, he is most famous as the leading figure in Lithuanian art photography. The beauty of the female body and nature are his sources of inspiration. As a rule, he shows a nude woman's body in marvellous natural surroundings, and tries to show the spiritual beauty of femininity shining through the shapes of a beautiful body. His pictures balance between graphics and photography. This can be seen in his well-known work Flowers among Flowers (1990), as well as in other photography books. At present, Dichavičius is preparing a new book Visions. It will contain more than one hundred photographs produced by new artistic and technical means.
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fotografią zajmuje się amatorsko, urodził się i wychował w Pyskowicach na Śląsku, ale obecnie mieszka w Bremie w Niemczech i zazwyczaj tam fotografuje, swoje prace prezentuje głównie w internecie, publikacja w „Więzi” jest jego prasowym debiutem.
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Photos of the Railway Station "Józsefváros" in Budapest. This was the true gate to Auschwitz, suggests Janos Kobanyai, and adds that the museum of the Hungarian Holocaust should be located here rather than in the unsuitable Pava Street.
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W 1981 roku, po śmierci mojej ciotki, prof. Anieli Kozłowskiej, przeglądałem pozostałe po niej fotografie. Moją uwagę zwróciło zdjęcie z lakonicznym opisem: „Polesie 1921. Nad brzegami Prypeci”. Na awersie prymitywna łódź w zakolu rzeki i stojąca na brzegu 23-letnia wówczas Aniela, świeżo upieczona absolwentka botaniki Uniwersytetu Jagiellońskiego, ze szpadlem w jednej ręce i kłączami rośliny w drugiej. Co skłoniło pannę z dobrego domu do włóczęgi po bezdrożach poleskich? Oczywiście przyroda, niezwykła ostoja roślin i zwierząt, jaką stanowiło Polesie.
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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.
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The few publications on photographic art in Latvia after World War II mention the first post-war exhibition of photographic art as a sort of milestone - it was Fine Art Photography Exhibition opened in Riga, 29 December 1957. However, this significant event in Latvian photography deserves a more detailed study. The article provides an overview of the facts gathered so far, delineating the series of events related to the organisation and course of the first Fine Art Photography Exhibition as well as the field of issues in need of further research. The fact that the exhibition took place in the central art museum of the city laid the foundations for the future inclusion of photography in the sphere of visual arts (still this depended on particular artists and curatorial ambitions, without further legitimisation from the cultural policy makers). Available documents allow concluding that many photo journalists - press photographers - took part in the exhibition along with several photographers who had established their careers in early 20th century and the inter-war period. Among the participants there are active and popular photographic artists in the decades to come. Testimonies gathered so far allow to assume that searches for aesthetic (although sometimes sentimental or banal) motifs predominated, related to an idealised interpretation of country and urban environment. Even if full of organisational and technical flaws, Fine Art Photography Exhibition seen in Riga in late 1957 and early 1958 should be viewed as a start of a new period. It was a precedent for specialised shows of photographic art, also held in a prestigious museum, inciting photographers’ self-esteem and voicing a larger need for photographic education.
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Pierwsi cykliści pojawili się na ziemiach polskich w latach 60. XIX wieku. Rowery najszybciej dotarły do Warszawy — w 1866 roku na ulice wyjechał trzykołowy trycykl; rok później drewniany welocyped bez łańcucha i hamulców, z pedałami umieszczonymi na okutym żelazem kole; a w 1885 roku — angielski bicykl z gumowymi obręczami na kołach, z których jedno było większe od drugiego. Stale udoskonalane rowery — nazywane również samojazdami — szybko zyskiwały popularność. Cykliści, tworzący coraz większą społeczność, zawiązywali stowarzyszenia, które podejmowały działalność nie tylko sportową. Do tego typu organizacji należało powstałe w 1886 roku Warszawskie Towarzystwo Cyklistów (WTC). Jego członków nazywano Sprężystymi — jako aktywnych w wielu dziedzinach życia społecznego.
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Short presentation of the exhibition: „Komunie, śluby i pogrzeby – z dziejów fotografii rodzinnej” (“Communions, weddings and funerals – from the history of family photography”), Muzeum Historii Fotografii w Krakowie (Museum of the History of Photography in Cracow), April, 27th – May, 31st 2001. Digitalized and reedited material
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The present article completes the author’s book, Dagerotypy w zbiorach polskich. Katalog (‘Daguerreotypes in Polish Collections. A Catalogue’), published in 1989. It deals with several pictures taken by such Polish daguerreotypists as Karol Beyer in Warsaw (nos. 1-8), Dominik Zoner (no 9), as well as by anonymous artists (nos. 10-18), discovered after the book’s publication. Although some of these pictures were taken outside Poland, all of them present the Poles or persons associated with them. The author ends her article presenting Polish daguerreotypes and polonica in foreign collections (Lithuania and in Moscow, L’viv, Paris, Montrésor). The annex contains a list of corrections which should be made in this book due to the progressing research in the history of photography over the last twelve years. Digitalized and reedited material
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This article presents some biographical information about nine daguerreotypists and photographers who were active in Łódź between 1850 and 1863, the discovery being possible thanks to ‘The main lists of travellers at inns’, an archival source which has never been referred to by historians of Polish photography. These are books in which visiting persons who were not permanent dwellers of the given locality were registered, with the entry consisting of a family name, given name, profession, locality they came from and address in Łódź (inn, tavern, hotel, private house), as well as a travel document (mostly passport) and duration of stay. Such registration was obligatory till around 1906 in all the cities and towns of the Kingdom of Poland under Russian rule and its police system. The registers for the years 1835-67 are kept in the State Archives of Łódź. Digitalized and reedited material
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This article is the first initial outline of the history of Polish wedding photography from the first half of the 1860s till the present day. It focuses mostly on the analysis of poses and arrangements of such photographs, beginning with the earliest ones in which the bridegroom and the bride often appear separately, through the photographs of newly wedded couples from various milieus (aristocratic, gentry, bourgeois and peasant) to those from present times which are more coherent from a sociological perspective. Digitalized and reedited material
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A list of foreign acquisitions concerning photography of the Library of the IS PAN in 2001. Digitalized and reedited material
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