Anny E. Popp, Art Historian of the Vienna School:

Author(s): Josef Vojvodík / Language(s): English Issue: 38/2021

This essay explores the works of art historian Anny Edeltrauth Popp (1891–?). One of the leading experts of the 1920s and 1930s on Michelangelo and the art of the Italian Renaissance, Popp seems to have disappeared without a trace in 1936. In the years 1919–1922, she published several studies with a distinctive and inventive analytical-hermeneutical approach to art history; the studies themselves deal with Cézanne’s style, Ferdinand Hodler’s compositional principles, Donatello’s relief style, and two artistic methods that have come to be known as Steigerung and Akzentuierung (‘gradation’ and ‘accentuation’) in the art of ancient Egypt.

A székelyderzsi templom festett triptichonja

Author(s): Mihály Jánó / Language(s): Hungarian Issue: VIII/2021

Most of the wall paintings of the fortified church in Dârjiu/Székelyderzs, Szeklerland (Harghita county, Romania) which can be seen today, were painted in 1419. The author of the study aimed at art historical research and iconographic analysis of the scenes of saint bishops, the Archangel St. Michael and the conversion of Saul on the south side of the nave, as a result of which he pointed out that this series was painted by and donated to the church by Master Pál Ungi. The image cycle of the legend of St. Ladislaus, located on the north side of the nave, which was also painted by Pál Ungi and his workshop, was commissioned by Bishop of Transylvania, György Pálóci (1419-1423).

Képmelléklet

Author(s): / Language(s): Hungarian Issue: VIII/2021

List of Illustrations to the art-historian studies of Mihály Jánó, Anna Kónya, Ferenc Veress, Balázs Szőke and János Orbán.

A budai műhely titkai

Author(s): Enikő Békés / Language(s): Hungarian Issue: 1-2/2021

Zsupán Edina (szerk.): „Az ország díszére” A Corvina könyvtár budai műhelye Kiállítási katalógus, Országos Széchényi Könyvtár, Budapest 2020. 488 oldal, 14 000 Ft

Kinek a kortársa Fülep Lajos?

Author(s): Deodáth Zuh / Language(s): Hungarian Issue: 3-4/2021

Márfai Molnár László: A konkrét jelentés poétikája. Fülep Lajos művészetfilozófiája. L’Harmattan Kiadó, Budapest, 2019., 110 oldal, 1990 Ft

Pomiędzy Jerozolimą a Cyrhlą. Przyczynek do badań nad życiem i twórczością artysty malarza Maksa Hanemana (1882–1942?).

Author(s): Katarzyna Chrudzimska-Uhera / Language(s): Polish Issue: 04/2021

The article is about the life and art of Maks Haneman (1882-1942), the painter of landscapes, portraits and genre scenes, active in the first half of the 20th century in the Łódź, Warsaw and Zakopane milieux in the first place. The author embarked on an attempt to verify the factographics and supplement the modest scope of studies on the artist’s career and to define his attitude toward his social and cultural mixed Polish-Jewish roots. In this context, she looks at his travels to the East, which Haneman took both as a beginner (1914) and as fully formed artist (1925). The paintings the trips produced make it possible to identify the various perspectives from which told his stories of the Jewish tradition and modern times. He adopted the point of view of an outside onlooker and at the same time a committed participant, a heir to centuries of tradition and culture. At the same time, already as a student, and especially since settling in Zakopane (1921), he started producing paintings inspired by Tatra Mts. He was the only artists of Jewish descent among Zakopane’s landscape painters. By taking up the Tatra Foothills („Podhale”) themes, Haneman deliberately reached out for forms and themes of an established Polish national character. The painter’s active presence in the life of Zakopane’s “art colony”, shaped back in the 19th century and based on patriotic, independence tradition, confirms the open nature of his artistic and national self-identification, taking both Jewish and Polish sources into account.

THE PROBLEM OF THE HISTORIZATION OF 20TH CENTURY SERBIAN FASHION 1920-1980

Author(s): Stefan Žarić / Language(s): English Issue: 1/2022

The paper covers the history of 20th century Serbian fashion from the 1920s through the 1980s, focusing on the problem of its historization. Based on established readings submitting 20th century Serbian fashion to politics thus distancing it from global fashion history, I aim to structure a possible historical narrative of fashion by identifying the elements of haute couture in 20th century Serbian fashion industry. Rather than contrasting Serbian fashion figures with their Western counterparts and deepening the West / East Europe fashion divide, the paper traces similarities between them, demonstrating that 20th century Serbian fashion responded to haute couture trends simultaneously with their emergence in the West.

Helena Grabschrift-Taffet, krakowska artystka urodzona w Tuchowie

Author(s): Natasza Styrna / Language(s): English Issue: 1/2021

Helena Grabschrift was born on 18 April 1909 in Tuchów. Starting 1929, she studied at the Krakow Academy of Fine Arts, taught by such artists as Władysław Jarocki, Wojciech Weiss and Stanisław Kamocki. In late 1930s she became involved with the Krakow Association of Jewish Painters and Sculptors. She was one of the most active members of the organisation, and made arrangements for the last Krakow exhibitions of the works of Jewish painters before the war. For a long time, nothing was known of her life after the end of the Second World War; she was considered either dead or missing. The author of the present article managed to find sources confirming that the artist had survived the war, and to contact her family in Israel. Consequently, it was possible to add to the artist’s biography many new details from pre-war years, the period of Nazi occupation, as well as her later life in Israel, where she moved with her husband Henryk Taffet. Unfortunately, not much has survived from the artist's pre-war output, therefore the inter-war press remains the most important source of information about her work.

Jan Jerzyczek – stały malarz kompleksu kalwaryjnego w Kalwarii Zebrzydowskiej

Author(s): Mirosław Płonka / Language(s): English Issue: 1/2021

The art of resident monastic painter Jan Jerzyczek (1788-1842) is paradoxical, as his technical skills and painting technique were categories as folk art even though the artist himself copied 17th century work and his paintings are based on 16th century Antwerpian engravings as well as his own experience of the Calvary’ mystery plays. Authors of monographs on the Calvary complex barely mention Jerzyczek, yet even without providing a historical, economic, and political context of the job of a resident monastic painter in the early 19th century, due to which they fail to notice the phenomenon of Jan’s paintings in the course the changes that were in progress at that time. The aim of this article is to organise knowledge on Jerzyczek’s activity and work in the Calvary, which would serve as the basis for determining the iconography of original Calvary scenery and images which were removed in the course of the first comprehensive ‘maintenance’ of the Polish Jerusalem under the supervision of Gaudenty Thynell OFM. At the same time, a closer look at Jerzyczek’s paintings allows us to perceive the visual arts (mainly painting) in the Calvary in the first half of the 19th century as a replacement for the mystery play scenes removed after 1772, the observance of which (according to Austrian authorities) was incompatible with the solemnity of the service. Jerzyczek’s art is also paradoxical in that he was much better at painting pictures inspired by his own participation in Calvary mystery plays when personal experience prevailed over his printed influences.

Srebra hamburskie z polskiej perspektywy. Uwagi o specjalizacji hamburskich warsztatów złotniczych doby nowożytnej

Author(s): Alicja Kilijańska,Dariusz Nowacki / Language(s): English Issue: 1/2021

The aim of this study is to present one of the most important defining features of modern Hamburg goldsmithing, namely the specialization of the workshops operating in 17th and first half of 18th century. With the widespread replication of the characteristic examples of Hamburg artwork, the features differentiating local products from those made in other goldsmithing centres became more and more recognizable. The article briefly describes several Hamburg silvers preserved in the country, both in private and museum collections. In view of the fact that most of the silvers from the great godsmithing centre of our interest can only be found in Hamburg itself or in Russia - Polish artefacts, though not comparable in quantity, can shed some light on the correct understanding of the artistic merit and character of one of the most important centres of goldsmithing in modern history.

Az amszterdami menedék, avagy modern művészet a holokauszt árnyékában

Author(s): István Németh / Language(s): Hungarian Issue: 3/2021

Црквена уметност и јавност у Кнежевини Србији (1830–1882)

Author(s): Ana D. Kostić / Language(s): Serbian Issue: 2/2022

In the Principality of Serbia in the 19th century, the Orthodox Church represented a significant entity and had a privileged position as a state and national institution. This all affected its place in public life, as well as the public control of all the church activities regarding the churches’ construction, equipping, painting, and renovation. Thus, the aesthetical criteria, demands, and effects of the cultural and scientific public were a tremendous factor in making church art common during the 19th century. The public had an influence on art development through various forms in the Principality of Serbia, and some of the instruments were both daily and periodical (printed) press. The public’s attitude towards the church art was stated in the press and hu mongously affected the people’s consciousness of the Church and church art’s significance in relation to the state and nation, as well. Also, the ordering parties’ tastes had thus been formed, which also had an impact on the complex mechanisms of the general church art trends during the 19th century. This kind of practice was characteristic of 19th-century Europe and Russia, and from there it was also accepted and developed in Serbia. Despite the fact that in the 19th century the Serbian people had lived in the territory of three states – the Ottoman Empire, the Principality/Kingdom of Serbia, and Austria, the periodical literature and newspapers had been available to the Serbian social and cultural elite at the mentioned territories. Since the press had not been strictly limited by the state boundaries, a wider reading audience had been familiar with the information and attitudes about art presented in both the newspapers and periodical literature, which were printed in Serbia and Austria, as well. The newspapers coming out in the period 1830–1882, such as Šumadinka, Srbske novine, Novine Čitališta beogradskog, Sion, Podunavka, Golubica, Orao, and others, contained different aesthetical attitudes on the church painting and architecture, but also considered various problems on the topics of erecting and painting the churches. The public significance of the works regarding the construction and equipping of the churches had been highlighted. Certain models of the church architecture and painting had been promoted, along with the individual artists’ works. By reading the daily and periodical press, the reading public had been informed about the church heritage from the past through the reports about medieval churches and some debates on their renovation. Finally, the public of experts promoted, by using the (printed) press, certain advisable behavior models, such as the contribution activities towards the Church which were seen as the ultimate patriotic endeavor.

Rozkwit i nieistnienie

Author(s): Joanna Majewska / Language(s): Polish Issue: 804/2022

Brukselka

Author(s): Piotr Oczko / Language(s): Polish Issue: 805/2022

Przemiany gąsienicy

Author(s): Piotr Oczko / Language(s): Polish Issue: 806-807/2022

Strój na wystawie

Author(s): Piotr Szaradowski,Marek Maraszek / Language(s): Polish Issue: 806-807/2022

Kolozsvári szívvel a művészet világában

Author(s): György Gaal / Language(s): Hungarian Issue: 08/2022

Árkossy István: Világsíkok. Ábrázolás és tükrözés. Magyar Napló, Bp., 2020.

Reception of Zagreb Traditional Wooden House in the Brick Residential Architecture of Zagreb’s Opatovina and Upper Town in the 18th, 19th and 20th Centuries

Author(s): Marko Filip Pavković / Language(s): English Issue: 2/2022

During the foundation period of Zagreb’s Gradec and Opatovina, a specific architectural type of wooden single-storey residential houses emerged, the so-called purgerska hiža, based on the traditional wooden architecture of wider Zagreb area, which was defined, for the first time in this article, as Zagreb traditional wooden house. Features of this house type can be recognised in brick residential houses from the 18th century onwards, both in Opatovina and Gradec, and they became a staple piece of architecture commissioned by the economically less powerful and less educated. This article describes the prominent features of this architectural type, as well as the specificities of a more elaborate type of two-storey houses that developed therefrom. Here it is shown that this type persisted in the brick form long into the 19th century, and that certain features occasionally cropped up even in the 20th century. All Upper Town and Opatovina houses that can be subsumed under this type were identified in this article, as well as houses derived from that type, which can be considered its modifications, and they were analysed in order to determine from where the influences on this type of architecture had come, adopting a new thesis on Zagreb as a border zone that was influenced by two ethnographic regions: Turopolje and Hrvatsko Zagorje.

Dostawy mozańskiego kamienia budowlanego na wschodnie tereny dawnej Rzeczypospolitej w 1. połowie XVII w.

Author(s): Ryszard Szmydki / Language(s): Polish Issue: 5/2018

Before his election, Sigmund III pledged to build five fortified castles on the eastern borders of the Polish-Lithuanian Commonwealth. However, meeting these promises was hard for financial reasons. In addition, there was no adequate building material. Only in 1626 did the king decide to commence construction. Stonemasons from the Netherlands, from Amsterdam, helped ship to Poland substantial amounts of stone from the Meuse estuary, e.g. black and red marble from the famous quarries near Namur. It follows from the diplomatic correspondence, discovered in the archives of Brussels and the Hague, between Sigmund III the regent of the Southern Netherlands in Brussels Infanta Isabella and the government of northern United Provinces of the Netherlands in the Hague, that in the period 1626–1629 a famous stonemason from Amsterdam, Laurent Swijs, was entrusted with shipping to Poland stone from the estuary of the River Meuse; the material was used for the architectural furnishings of the Royal Castle in Warsaw. In turn, Pieter Adriaen van Delft supplied construction material from that very region to the eastern borderlands of the former Commonwealth, e.g. to Zbarazh, in line with Sigmund III’s pledges made in his pacta conventa. Architects of fortifications from the Netherlands were highly acclaimed in Poland. One of them was Hendrick von Peene, who came from southern Netherlands at the invitation of Jerzy Zbaraski.

Królowa Anna Habsburżanka (1592–1598) w zwierciadle swoich listów. Kilka uwag o znaczeniu jej korespondencji z matką, arcyksiężną Marią Bawarską.

Author(s): Aleksandra Barwicka-Makula / Language(s): Polish Issue: 7/2020

The article is an invitation to a discussion about the image of Anna of Austria, Queen of Poland, the first wife of King Sigismund III Vasa, created in the early seventeenth century by the Queen’s confessor Fabian Quadrantinus, and reinforced by the Austrian historian Walter Leitsch, the author of a four-volume work on the life at the court of the first Vasa. In the author’s opinion, the image is over-idealised – Quadrantinus created a picture of an almost holy woman, while Leitsch promoted a view of her as the most influential adviser to King Sigismund III. An indepth analysis of the correspondence makes it possible to verify both of these perceptions. Besides, the authoress postulates a change in the approach to the Queen’s preserved letters to her mother, Archduchess Maria Anna of Bavaria – not to regard them solely as a repository of insight into the life of the royal family, but to see them as an egodocument – as a record of practices and experiences, a testimony to a “conversation by letters” lasting nearly six years. This text only indicates new research perspectives, encouraging us to look unconventionally at the relationship between mother and daughter, and prompting us to reflect on the role Anna of Austria and her Polish-Lithuanian courtiers played within the archduchess’s system of information gathering and network of correspondents.