Oryginalne elementy wystroju łączą odbudowany Zamek Królewski w Warszawie z przeszłością.

From 20th to 28th August 2022, the 26th ICOM General Conference took place in Prague. Its main theme was “The Power of Museums”. The conference was the product of a long discussion about defining the contemporary role of museums and their obligations to the past, present, and future. In the article titled: The Humans and their History in Museums. A few Reflections about the 26th ICOM General Conference in Prague the author discusses the course of proceedings and asks questions about the character and nature of the museum’s work in the field of history as an academic discipline. Some of the most important questions discussed in the paper include those on: museums’ aspirations in the field of sensual depiction of history; the relationship between the tangible and intangible heritage within museums’ method of work; the role of heritage interpretation as the basic tool of contact with the audience; and the urgent issue of neutrality and institutions’ engagement in the face of contemporary challenges. The source materials used in order to find answers to these questions are the legal acts about museums; the resolutions of the 1st Congress of Polish Museum Professionals (April 2015 in Łódź); and the definitions that constitute museums, both through legal acts on the state level and those passed by the International Council of Museums (ICOM).

The article discusses the expansion of the influence of the museum as a culture forming structure on the example of one of the most beautiful cities in Eastern Europe. Lviv is considered a regional metropolis, its cultural influence extends across Western Ukraine. The paper presents the evolution of the museum’s function in the spatial development of Lviv and urban conditions of expanding this function in a modern city. The need for the placement of museum complexes on the outskirts of Lviv’s city center was determined.

The author presents changes which took place in the 3 eld of ideas of presenting art to the city audience at the end of the twentieth century. She draws attention to the importance of a movement of so-called “new museology”, which revised the museum practitioners’ attitudes towards art viewers. She presents taken from Poland and Europe practices of realizing artistic practices outside exhibition halls, directly in the public space, with immediate access to the viewer, who also is invited to participate in a process of creation of the art work together with the artist. She indicates a consequence of this practice, which is a formation of a so-called “new audience” – conscious of their expectations towards cultural institutions. In the end, the author mentions a research project on the phenomenon of the “new audience” initiated in the framework of the international project “Artecitya”.

W muzeach przyrodniczych możemy zobaczyć repliki wymarłych przed wiekami zwierząt. Na czym polega sztuka ich „ożywiania”? Jak się je rekonstruowało kiedyś i jak to się robi dzisiaj?

Artykuł poświęcony jest opisowi dziejów oraz wyzna-czeniu miejsca na mapie polskich czasopism nau-kowych rocznika naukowego Muzeum Historycznego Miasta Krakowa (od 2019 Muzeum Krakowa) „Krzy-sztofory”. Autor omawia długi proces powstania czasopisma, w tym niezrealizowanej, choć ciekawej idei rocznika „Kronika Miasta Krakowa”, który ukazał się tylko jednorazowo w 1962 r. Rocznik „Krzysztofory” to efekt rewizji tej nieudanej inicjatywy wydawniczej. Ukazuje się od 1974 r., a do 2024 r. wydanych zostało 41 numerów czasopisma.

Boulevards of Vistula, which are valuable assets in the urban planning of Kraków, constitute a key cultural development of the city. The author addresses the subject of functional activation of the Vistula river valley in Kraków, in the context of citygenic processes of the district of Zabłocie. Raising the issue of synthesis of contemporary museum and architecture, presents the Master Thesis Museum of photography at Zabłocie Street in Kraków.

Władysław Łuszczkiewicz was an art historian, artist, pedagogue, an outstanding personality of nineteenth-century Krakow, active in many fields. He was a professor at the Cracow School of Fine Arts, and in the years 1857–1873 and 1893–1895 he was the headmaster of this school. He was a teacher of many artists, of which it is enough to mention only the greatest — Jan Matejko, Stanisław Wyspiański, Józef Mehoffer and Artur Grottger. In 1883, Łuszczkiewicz was appointed the director of the National Museum in Krakow. He managed this institution until his death, that is until 1900.

Among the oldest source materials belonging to the Archive of the National Museum in Krakow, we can find the correspondence of former students of the School of Fine Arts addressed directly to their former teacher — Professor Łuszczkiewicz, who was at this time the director of the National Museum in Krakow. Based on selected letters, the article presents their interesting subject matter and presents the issues in which the students wrote to their Master. The attempt to describe the relation between former students and their master revealed in letters will be made.

The paper offers a reappraisal of the Puławy collection’s display through a detailed analysis of Virgilian evocations within the complex. The choice of inscriptions and ancient imagery framing the exposition’s narrative, as well as the surviving reception testimonies towards such strategies within Pulavian pavilions, demonstrate an ongoing questioning of chronological sequences, the primacy of authenticity, and aestheticising exhibits. Such anachronic distancing from a historicizing temporality would take place in favour of an intimate experience of familial-cum-national memorabilia, in accordance with the contemporaneously emerging category of the fetish.

Zespół dworsko – parkowy w Romanowie jest siedzibą rodową rodziny Kraszewskich. W chwili obecnej zabytkowy dwór wraz z trzyhektarowym parkiem pełni funkcję Muzeum Józefa Ignacego Kraszewskiego. Celem artykułu jest przedstawienie historii oraz stanu zachowania zespołu rezydencjonalnego, jego przekształceń ze szczególnym uwzględnieniem obiektów małej architektury towarzyszących całości. Do czasów obecnych na terenie parku zachowały się bowiem dwa tego typu obiekty budowlane, którymi są kaplica parkowa fundacji Konstancji Mochorowskiej z 1810 roku oraz eklektyczna brama wjazdowa datowana na pierwszą połowę XIX wieku. W artykule przytoczone zostaną także opisy nieistniejących już obiektów parkowych między innymi neogotyckiej cieplarni oraz samotnej chaty stanowiącej niegdyś element romantycznego założenia.

Struktury architektoniczne powstają na podstawie warunków odczytywanych przez autora jako determinanty jego projektu. W przypadku Centrum Chopinowskiego i Muzeum Chopina w Żelazowej Woli, były to warunki kontekstu przyrodniczo-kulturowego, warunki konserwatorskie, funkcje. Istotne były także zmiany projektu w trakcie realizacji.

In the collection of the National Museum in Warsaw there are four small sets, originating from the eastern lands of the former Polish-Lithuanian Commonwealth. They had belonged to the collection of Józef Choynowski and, as a deposit of the Society for the Encouragement of Fine Arts, in 1923 became a part of the Museum’s collection. They represent quite a wide time horizon, dated from the beginning of the 16th century to the half of the 17th century. Their compositions are similar to deposits from the same period, and size allow to determine them as content of purses. The older hoards are homogeneous in nature, while the later ones are more varied, including, among others, many counterfeit coins. The circumstances of their deposition are unknown.

For the Gdansk Library, participation in the Nights of Museums is an effective way of execution of its didactic and science-promoting goals defined in its mission. The interesting main themes, presentation of the library’s rich collections, as well as the involvement of the organisers and the participating staff members all translated into the success of the nine editions of the event between 2011 and 2019. Their subsequent main themes were: A night with Johannes Hevelius from the treasury of the Gdansk Library, Fashion for books – fashion in books, Horror in the library, The world of the library on one night, Taking a book to further than the horizon, The Library as a Garden, Gedanum domus nostra – Our home – Gdansk, In mari vita tua – In the sea is your life, Genius – on the 500th death anniversary of Leonardo da Vinci. During the past Night of Museums, visitors to the Library were most impressed by the displays in the Reading Room of Historical Collections. Such presentations are sometimes the only opportunity to have a close contact with valuable manuscripts, old printed books, prints, and other special collections, and to hear competent staff members talking about them. Regular attractions of the Night of Museums included displays referring to the theme of the event in the exhibition room and a sale of library publications in the hall of the historical building at ul. Wałowa 15. The subsequent organisers of the project, also in cooperation with other cultural institutions from the Tri-City, each time enriched the programme with fascinating talks, thematic workshops, and even concerts. During the subsequent editions of the Night of Museums, the Gdansk Library hosted an average of 670 visitors, which testifies to the value of this tool of promotion of the library.