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This article deals with the research activity of Józef Sandel (1894-1962), a historian of the art of Polish Jews, who studied that art over the first dozen or so years after World War II and analysed it from the point of view of its ideological message. While focusing on the life of Polish artists of Jewish origin (and Jewish artists in general, who were connected to Polish lands), he first of all tried to emphasize the Jewish contribution to the history of Polish art. Looking at it in perspective, with the Holocaust over, he proceeded from the assumption that the art of Polish Jews can be viewed as a historical phenomenon in its own right, for which the watershed was the Holocaust, affecting both the artists and the works created by the generations which preceded it. In this particular instance, the goal of research activity in the field of history of art was to spread the word about (what he considered as) the immortal legacy, which should be interesting to the Jews themselves and the Poles alike. With regard to the former, what he wanted in the first place was to ensure that artistic creation be recognized as an integral element of the culture of the Jewish people. This was to be served by a peculiar interpretation of that culture, emphasizing the close bond between form and content, which were supposed to constitute jointly an articulation of Jewishness (an ethnicity which traditionally also denoted social condition). At the same time, with regard to both the former and the latter, what Sandel sought was the appreciation of the art of Polish Jews in socialist Poland. He wanted to achieve it by pointing to its leftist nature and consequently its contribution to the promotion of the “progressive” ideology in the culture of Polish lands.
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Juozas Balčikonis (1924–2010), one of the patriarchs of Lithuanian Textile School, was born in Giedraitinė, Ramygala district, Panevežys region. He graduated from Ramygala Secondary School. During his study at Kaunas Applied and Decorative Arts Institute, he was greatly influenced by L. Truikis. Balčikonis was passionately interested in the Lithuanian folk art as well as in Oriental art and collected their samples. Since 1949, he was a teacher in Kaunas Applied and Decorative Arts Institute. From 1951 till 1989, heheaded the Textile Department at the Lithuanian Art Institute. Balčikonis authored „Folk art. Fabrics“(I dated 1957, II dated 1962), „Tissue Patterns“ (1961), „Tape“ (1969), „National Clothing“ (1970) andother books. Since 1947, he participated in many exhibitions in Lithuania and in various countries of Europe, Asia, America, and Africa. Almost all the most significant pedagogical, organizational and creative events in the 20th century Lithuanian textile art were related with him. He contributed a lot to formation and development of the Lithuanian National Textile School. The main areas of his creative activity were tapestries, woolen carpets, batik technique pieces, decorative fabrics, mixed technical compositions, national costumes. In 1955 and 1960, he designed folk costumes for the „Song Festival“. Balčikonis received the State Award and was decorated by the Medal of the Lithuanian Army Creator and Volunteer (2000) and the Order of Grand Duke Gediminas (2001).
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Ardent supporter of the union of the Eastern and Western Christian Churches, as well as of organizing a crusade − under the leadership of the Pope − for the reconquest of Constantinople (the “Second Rome”), the renowned Greek scholar and founder of the Marciana Library in Venice, Cardinal Basilios (“Johannes”) Bessarion (Trebizond, 1403 − Ravenna, 1472) became a symbol of the Roman Catholic Church; among his contemporaries, his name was better known as that of the Pope’s. Iconographic features, that used to be traditionally represented, started being rendered by great artists of the Italian Renaissance (Piero della Francesca, Justus van Gent, Vittore Carpaccio, Carlo Crivelli and others) through the particular physiognomy of Cardinal Basilios Bessarion. These were the representations of saints such as John the Baptist, Jerome and Augustine). The unmistakable portrait of Cardinal Bessarion can be recognized in the representation of Saint Paul, on the dorsal cross of a Venetian chasuble of the late 15 century belonging to the Saint Virgin Mary parish church in Sibiu (currently the Lutheran church in Sibiu). This paper attempts to unravel the meaning of the iconographic composition of the precious embroideries of the chasuble,and how this liturgical vestment and the two dalmatics from the same ensemble could have entered into the possession of the church.
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Dobruja, one of the provinces of Romania, is a good example of multi-ethnic cohabitation. For hundreds of years, it has been the home of peoples which, through their culture, way of life, and tolerance, have yielded the current configuration of the region’s profile.In Turkish families from Dobrogea, particularly those in rural areas, changes have occurred as to the strictness of the life norms observed and passed on along the centuries. Nowadays traditions and mindsets from patriarchal times coexist with more recent, modern ones. The research strategy I opted for in order to complete my enterprise was the directive interview correlated with the audio recording method. The analysis of the lullaby “Dandini, dandini dastana” from the folklore of the Turks of Dobrogea has revealed that it belongs to the old stratum of traditional creations.
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Aim. The aim of the research is to show the applications of art reception in computer games. Moreover it is important to show a game as a visual object worth being analysed by art historian, because of complex structure and relations with traditional artistic media like architecture and painting. Many disciplines, such as ludology, narratology and culture study research computer games, but we can see a large lack in the state of research in visual aspects of games, which should be supplemented.Methods. The subject of study are five games belonging to different game genres. The first, Assasin’s Creed II is set in a historical context, the next Witcher III and Dark Souls embedded in the realities of fantasy and finally, two games in an independent games category. The basic method is iconographic identification of the object and comparative difference and similarity between original source of inspiration and transposition of this in computer media. Therefore basic tools gained from history of art are used, which are necessary for visual analysis of a piece of art. A notion of commonplace forming a frame for images from different media is also important.Results. Indicated examples show that classic art has a strong influence on numerous computer games. The citations and allusions from art bring an additional narration completing the story in the game. Objects of architecture or paintings also give symbolic meanings, influencing the interpretation of the whole game. Game developers oscillate between education in the history of art and the use of these references to create your own world.Conclusion. The examples presented in the article are only part of the rich area of art inspirations that can be found in many games. This should become a contribution to further research, not only taking into account the indicated types of references, but also the visuality of the games themselves. The visual complexity of the games would require separate, more extensive research that would bring a lot into the perception of games and researching them.
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When we look at art history; In mythology Venus, the goddess of love and beauty, has maintained its importance as it existed from the first ages until today. Venus was first depicted as the god of fertility, but was later depicted as the goddess of beauty. It has been the representation of the ideal beauty revealed by many philosophers and philosophers, and has been explored through different perspectives in different ways by many artists. An important mythological character, Venus continues to exist in contemporary art. In this study, the way the Venus image was handled by the artists was examined.
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PhD Antonín Jiří Stránský (1896–1945), historien de l’art tchèque, est aujourd’hui presque complètement oublié. Peu connus dans la science, sa vie et son travail peuvent être reconstruits à la base des archives à Prague, de sa documentation conservée sous le nom de Collection Stránský (Zbirka Stranski) au Musée national de Belgrade, ainsi que de nombreux articles scientifiques, spécialisés et éducatifs qu’il publia dans diverses revues, magazines et quotidiens. Le domaine principal de son intérêt était l’art médiéval des peuples balkaniques.
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Impressionism is considered as the beginning of modern art. Impressionism had redesigned the whole art of painting. The innovations brought by Impressionist art had performed exchange on almost every field; from point of view of the artists, to the subjects they chose, and the way they process the subjects. These changes opened the way for new breaks in the history of art and deserved the title of the pioneer of modern art. It is necessary to look at the innovations brought about by art of impressionism. These innovations can be listed as follows: Instead of noble subjects, ordinary subjects were chosen, light was scientifically examined, colors were given side by side, and workshops were preferred instead of open air. To seize the moment fast works were provided therefore canvas sizes were kept small. Instead of a linear perspective, the air perspective with colors was preferred. Impressionism is the cafes, rivers, railway stations, streets and all other public spaces that urbanization offers to the community. In portraits, the subjects are ordinary people. All impressionist issues are up to date. For this reason, impressionism is the most important stage of modern art by destroying the classical academic tradition.
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The study explores the art of performance and happening in Slovakia from the 1960s, and its influence on theatre. Given its interdisciplinarity, the first part is dedicated to the van¬tage points of performance in Slovakia: action art and related names. Action art had significant influence on later theatre performative forms. The second part focuses in detail on actions and performances by the company Temporary Society of Intense Experience, Balvan Theatre and on the artist Miloš Karásek.
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Collegiate church of Saint John the Baptist in Skalbmierz has long inspired interest among scholars of antiquities, historians and art historians, researchers of medieval architecture in particular, even though the rich and artistically diverse furnishings of the church remained somewhat on the sidelines of these studies. The works of the eighteenth-century so-called small architecture in the collegiate church in Skalbmierz have not been analysed so far; furthermore, it is impossible to agree with some of the theses proposed in the literature. The issue of altars that had been moved from Skalbmierz to other temples was not discussed at all. Also, the Skalbmierz equipment has not been considered in the broader context of eighteenth-century small architecture and sculpture in the region of Lesser Poland. The article is based on archival materials, inventories and archival photographs from the Diocesan Archives in Kielce, as well as a thorough formal and stylistic analysis of the altars and their sculptural decoration (both figural and ornamental) within the Skalb-mierz collegiate church. The research facilitated identification and analysis of the altars originally placed in the collegiate church in Skalbmierz, and now located in the parish church in Bogucice. Dating of all the eighteenth-century equipment in Skalbmierz had been established, and authorship of the carving workshops of Antoni Frączkiewicz, Jerzy Hankis, Michał Dobkowski and Wojciech Rojowski operating in Kraków had been proposed.
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The article is devoted to the analysis of research problems pertinent to a group of eighteenth-century altar paintings located in the church of Saint John the Bap-tist in Skalbmierz. Due to the rank of the Skalbmierz collegiate church within the structure of the Kraków diocese in the eighteenth century, the artworks gathered in the temple include examples of painting at the highest level then achievable for guild painters operating in Kraków, as well as one piece made by an artist active outside the structures of guild organization. The results of archival and biblio-graphical queries facilitated broadening our knowledge about the history of the paintings, and about the way their locations moved inside the temple. The formal and comparative analyses we have conducted led us to assigning the authorship of Saint Gregory the Great [Pope Gregory I] to Tadeusz (Thaddäus) Kuntze, and the paintings of Saint Joseph, Saint Anthony of Padua, and Saint Thecla to Mikołaj Janowski. The first of the aforementioned artists, after finishing his studies in Rome, came to Kraków and worked as a court painter to Bishop Andrzej Stanisław Kostka Załuski, while the second was one of the most important painters belonging to the Kraków guild in the eighteenth century. Depictions of Virgin and Child with Saint Anne and of The Baptism of Christ represent two research problems related to the workshop practice of guild painters active in Kraków in the eighteenth century. The first of the artworks constitutes an example of repeating the composition of another painting – specifically, a canvas found in one of the churches in Kraków – made by an artist from outside the local milieu, whereas the composition of the second representation is based on a graphic pattern from which some elements have been eliminated. Both compositional methods represented by these artworks were pop-ular in Kraków eighteenth-century painting.
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The article presents the development of methods for labelling textile products – mainly clothing – in the nineteenth century and in the early twentieth century. The development of fashion houses offering clothes tailor-made to individual orders, and of large department stores selling ready-made clothing meant that clothing items were increasingly frequently provided with textile labels. The informative value of the latter grew along with the evolution of sales techniques and the increase in consumption. Over time, they have become indispensable in the process of creating clothing brand recognition. Clothing labels that have been preserved to our times carry information about the product and its manufacturer, and indirectly also about many aspects of the silk textile production market and textile trade. Exploring these aspects of textile history lays the groundwork for further, interdisciplinary research. The paper outlines the general characteristics of various ways of mark-ing textiles, also in the centuries preceding the nineteenth century, and it presents the practice of indirect marking of clothing products. The marking of silk clothing fabrics and the beginnings of the development of legal protection of trademarks in international terms are also briefly discussed. The basis of the conducted research was a thorough comparative analysis of tags and labels preserved in the author’s extensive collections and in digitized museum collections. The article proves that in the nineteenth century the marking of textiles was treated in a way that we would now consider modern, and most of the forms and methods of marking textiles that were popular then are still used today.
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The article is devoted to the interior design, furnishings, and functions of social-ist realism-style buildings of the Administrative Centre of the Lenin Metallur-gical Plant in Nowa Huta. It is a complex consisting of two buildings, of which the Z Building – the northern one – was intended for the factory’s management, and the S Building – the southern one – was intended for “social” amenities. Each of the two buildings, despite their external appearance of nearly identical twins, received a different interior design, consistent with its intended use. Deciphering the original arrangement of individual rooms was possible thanks to the survival of some of the interiors in a relatively good condition, as well as the analysis of the meticulous executive documentation of the entire complex preserved to this day, and the so-called perspektywki [“perspectivettes”] – published drawings by the head of the interior design team, professor Marian Sigmund, depicting the appearance of selected spaces. The Z Building served official functions, therefore the most important representative rooms were placed in its first floor: conference rooms, official halls, offices for the Metallurgical Combine’s managerial staff, as well as a number of office facilities. The whole was designed as a Gesamtkunstwerk. The interior design refers to the tradition initiated by Adolf Szyszko-Bohusz at the Wawel Royal Castle, continued in pre-war representative and office interiors, and even in those designed for the chancellery of the governor general in the 1940s. Building S was meant to serve another purpose, as it was conceived as a “social house”, and therefore its interiors were designed accordingly. The central room within the walls of the S Building is the theatre hall with a common room above it. In addition, the building contained: a dining room, a hotel, reading rooms, and a health centre. The interiors were arranged in a way that was devoid of pathos; they were given some features of modernist solutions, albeit dressed in a historical costume. The furniture was also created to match the interior design of individual spaces.
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The research carried out on the Sacidava Fortress revealed a complex archaeological monument with predominantly Roman fortifications dating from the II-VII centuries AD. The investigative efforts based on advanced analytical techniques and imagistic techniques, are useful to understand the composition and levels of degradation of the Roman mortars present at this archaeological site. Analysis of the Roman mortars from this fortress revealed the presence of carbonate phases, bound water, and hydraulic compounds such as silicate and aluminate hydrates. Besides this, the microbiological analysis completed the obtained analytical data. This detailed study sheds light on the historical significance and construction methods used at Sacidava Fortress, providing valuable insights into the ancient settlement.
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This paper focuses on Horia Lovinescu (1917-1983), a member of one of the most important dynasties of modern Romanian culture. Six of Horia Lovinescu’s dramas are interpreted in a close reading system, by psychoanalytical tools and by focusing on the family constellations the author imagines. These plays are related to the historical context (“the terror of history”), in order to understand how works of art are the reverberation of biographical-creative data of the greatest importance and how they echo in a paradoxical way social-political transformations. This double reading, psychological and historical, is justified by the playwright himself, through the construction of his plays and through his many allusions to psychoanalysis in his writings.
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