Humanities and Social Sciences

Rocznik Historii Sztuki

Description

"Rocznik Historii Sztuki" ("Yearbook of History of Art"), yearbook, a journal devoted to history of art and architecture, history of the theory of art, problems of aesthetics. The journal has been published uninterruptedly since 1956. "Rocznik Historii Sztuki" is among the most important scholarly journals, published in Poland. "Rocznik Historii Sztuki" also publishes voluminous texts that are larger than 2 publication sheets. "Rocznik Historii Sztuki" publishes articles by renowned scholars as well as young art historians who are just beginning their research endeavours.

ISSN

ISSN 0080-3472

Publishers

Committee on Art Sciences of the Polish Academy of Sciences

Redaktor naczelny:

prof. Ryszard Kasperowicz

Redakcja:

dr Mateusz Salwa

prof. Joanna Sosnowska

prof. Paweł Migasiewicz

Komitet Redakcyjny:

prof. Wojciech Bałus

Joanna Inglot (USA)

Harry Mount (Wielka Brytania)

Paul Taylor (Wielka. Brytania)

Wolf Tegethoff (Niemcy)

Kontakt:

prof. Ryszard Kasperowicz r.kasperowicz@uw.edu.pl

Adres redakcji:

Komitet Nauk o Sztuce PAN

ul. Długa 26/28

00-950 Warszawa

Kontakt:

prof. Ryszard Kasperowicz r.kasperowicz@uw.edu.pl

“Rocznik Historii Sztuki” is an open-access journal. All articles are available free of charge in their full form.
Authors retain the copyright to their works.

All articles are published under the Creative Commons Attribution-ShareAlike 4.0 International (CC BY-SA 4.0) license, which allows for the copying, distribution, and adaptation of works provided that authorship is acknowledged and the same license is retained.

Authors have the right to make published articles available in institutional repositories, databases, and on their own websites.

Authors retain copyright and grant the publisher a non-exclusive license to publish.

Volumes
Instructions for authors
Additional info
Publication Ethics Policy
Peer-review Procedure

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Content

Rocznik Historii Sztuki | 2025 | No L

1 Strony redakcyjne

Rocznik Historii Sztuki | 2025 | No L

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2 Spis treści

Rocznik Historii Sztuki | 2025 | No L

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3 Od redakcji

Rocznik Historii Sztuki | 2025 | No L

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4 Profesor Andrzej Grzybkowski (1935–2025) i Jego historia sztuki średniowiecznej

Jakub Adamski

Rocznik Historii Sztuki | 2025 | No L | 7-11 | DOI: 10.24425/rhs.2025.158049

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Authors and Affiliations

Jakub Adamski

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ORCID:

Uniwersytet Warszawski

5 The Residence of a Humanist Scholar. The Villa Mirów of Piotr Myszkowski, Bishop of Kraków, at Książ Wielki

Aleksander Stankiewicz

Rocznik Historii Sztuki | 2025 | No L | 13-77 | DOI: 10.24425/rhs.2025.158050

Keywords: residential architecture villa Santi Gucci Piotr Myszkowski Książ Wielki

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Abstract

The article discusses the history and architecture of the villa of the bishop of Krakow, Piotr Myszkowski, in Książ Wielki, built in the years 1585–1595 by the Florentine sculptor and architect, Santi Gucci. The entire residential complex is classified by researchers as one of the most important types of developments in the 16th-century Polish-Lithuanian Commonwealth.

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Authors and Affiliations

Aleksander Stankiewicz

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ORCID:

Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie

6 The Beginnings of Shaping the Idea of the Gallery of Famous Poles of King Stanisław August

Izabela Przepałkowska

Rocznik Historii Sztuki | 2025 | No L | 79-94 | DOI: 10.24425/rhs.2025.158051

Keywords: Stanisław II August (Stanislas August) Adam Naruszewicz Knights’ Hall gallery of famous Poles Polonorum Icones

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Abstract

The idea of a gallery of illustrious Poles, usually associated with the Knight’s Hall at the Royal Castle in Warsaw (1781–1786), began to take shape in the 1770s. In the face of political crisis and deep social divisions, King Stanisław August developed a program of presenting exemplary figures from Polish history. Portraits accompanied by biographical accounts, assembled within the royal collections, were intended to serve as didactic instruments and vehicles for fostering patriotic sentiment. The pantheon of distinguished compatriots thus emerged as a central component of the monarch’s artistic and political patronag

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Authors and Affiliations

Izabela Przepałkowska

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ORCID:

Gabinet Rycin Biblioteki Uniwersyteckiej w Warszawie

7 Zaginiony portret Anieli z Potockich Konstantowej Zamoyskiej pędzla Jana Matejki

Barbara Matwiejczyk

Rocznik Historii Sztuki | 2025 | No L | 95-115 | DOI: 10.24425/rhs.2025.158052

Keywords: Jan Matejko Aniela Zamoyska Konstanty Zamoyski Zamoyski Museum in Kozłówka Brzozowski Palace portrait painting wartime losses lost paintings

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Abstract

The aim of this article is to present the lost portrait of Aniela Konstantowa Zamoyska, née Potocka, by Jan Matejko. Completed in 1872 and presented twice to the general public at exhibitions at the Society for the Encouragement of Fine Arts in Warsaw, the painting represents a period in Matejko’s oeuvre when the artist departed from the realistic presentation of models. Fearing the approaching front, the work was transported in 1944 from the Zamoyski Palace in Kozłówka to the Brzozowski Palace in Warsaw, where it was destroyed during the war. Fortunately, a black and white photograph from 1872, a glass negative made after 1923, a print in the so-called Matejko Album and a recently found copy of the painting by Florian Cynk (?). This article summarises currently available sources and outlines the countess’s biography, including a correction of the year of her birth, which has so far been given incorrectly.

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Authors and Affiliations

Barbara Matwiejczyk

e-mail:

ORCID:

Uniwersytet Gdański

8 “A Week of Inexpensive Etchings”. Graphic Subscriptions in Interwar Poland

Uruszla Dragońska

Rocznik Historii Sztuki | 2025 | No L | 117-182 | DOI: 10.24425/rhs.2025.158053

Keywords: Graphic subscriptions Artistic printmaking Art education Art in the Second Polish Republic Interwar collecting

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Abstract

The aim of this article is to discuss graphic subscription campaigns announced in the Polish daily press in Warsaw, Krakow, Vilnius, Lviv, Poznań, and Toruń during the 1930s. The mechanism of advance payment, employed in Europe since the 16th century for luxurious, often richly illustrated book publications, became in interwar Poland one of the key methods of distributing and popularizing graphic art among a broad audience. It developed on an unprecedented scale, as evidenced by 36 subscription campaigns organized between 1933 and 1941, which brought together nearly 150 printmakers. Subsequent editions, based on the principles established during the first initiative – launched by the woodcutter Wiktor Podoski and Stanisław Piasecki, editor of the Warsaw daily “ABC” – were frequently adapted to local conditions and refined through accumulated experience. The examples discussed reveal a phenomenon of multifaceted significance: breaking down barriers between artists and their audiences, ensuring mass access to affordable works of art, shaping public taste, promoting patriotic themes and motifs in a state rebuilding its national identity, and, finally, integrating and supporting local graphic art communities. The study further demonstrated that, as a result of the subscription campaigns, a new group of recipients emerged, not necessarily identical with the print collectors already active in the art market.

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Authors and Affiliations

Uruszla Dragońska

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ORCID:

Gabinet Rycin Biblioteki Uniwersyteckiej w Warszawie

9 A Young Polish Woman and André Fougeron in the Short Story of Art Critic Ewa Garztecka. A Literary Portrait of the Painter Between Reality and Fiction

Katarzyna Urbańska

Rocznik Historii Sztuki | 2025 | No L | 183-199 | DOI: 10.24425/rhs.2025.158054

Keywords: Ewa Garztecka André Fougeron Socialist Realism post-war French painting art criticism exhibitionAgainst War – Against Fascism Arsenal 1955 literary fiction in art history socially engaged art artist’s reception cultural policy in the People’s Republic of Poland

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Abstract

The article examines Ewa Garztecka’s short story Realism as a literary portrayal of the French painter André Fougeron, concealed under the fictional name Michel Hussenet. Through the lens of literary fiction, Garztecka encodes autobiographical experiences and a personal relationship with the artist, whom she encountered within the leftist Italian art milieu of the 1940s. A detailed analysis reveals parallels between Fougeron’s biography and Hussenet’s character, identifying the real painting The Young Polish Woman as a pivotal reference in the narrative. The study reconstructs the political and artistic contexts surrounding both Garztecka’s prose and Fougeron’s oeuvre, highlighting tensions between the ideological demands of socialist realism and the artists’ personal and aesthetic pursuits. The deliberate blurring of boundaries between reality and fiction serves as a subtle form of political critique and a means of preserving the memory of a marginalized history.

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Authors and Affiliations

Katarzyna Urbańska

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Akademia Sztuk Pięknych w Warszawie

10 Prestige Distribution. State Enterprise “Desa” – Works Of Art and Antiques (1950–1991)

Piotr Korduba

Rocznik Historii Sztuki | 2025 | No L | 201-229 | DOI: 10.24425/rhs.2025.158055

Keywords: Desa rynek sztuki antykwariaty galerie sztuki prestiż komunizm PRL

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Abstract

Artykuł jest poświęcony Państwowemu Przedsiębiorstwu „Desa” – Dzieła Sztuki i Antyki, monopoliście w obrocie sztuką i antykami w czasach Polski Ludowej. Autor analizuje okoliczności jego powstania, przemiany, rozwój, a także społeczną recepcję na przestrzeni czterdziestu lat istnienia. Stawia tezę, że mimo prowadzenia z pozoru neutralnej działalności handlowej było projektem politycznym, realizującym w zakresie obrotu dzieł sztuki i ochrony dóbr kultury oficjalną politykę państwa. Jednocześnie ze względu na unikatową ofertę, a także społeczną ekskluzywność stało się przestrzenią dystrybucji prestiżu.

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Authors and Affiliations

Piotr Korduba

Instytut Historii Sztuki Uniwersytetu Adama Mickiewicza

11 As if Touched with a Brush. Sculpture by Johann Gottfried Herder

Kamilla Najdek

Rocznik Historii Sztuki | 2025 | No L | 231-242 | DOI: 10.24425/rhs.2025.158056

Keywords: eighteenth-century aesthetics Johann Gottfried Herder sculpture haptic experience

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Abstract

This article examines the experience of sculpture in Herder’s aesthetic writings. I situate it in the space between visual, haptic, and linguistic perception. At the center of attention is the distinctive descriptive language built around an “as if” structure. I argue that, despite the evident valorization of the hand, Herder’s experience of sculpture—and the “living concept” bound up with it—cannot be reduced to a single sense. The exemplary Pygmalion from Plastik. Einige Wahrnehmungen über Form und Gestalt aus Pygmalions bildendem Traume ultimately does not touch the sculpture with his hand but with a brush. Yet, because the experience involves individual knowledge of the properties of matter and bodies, it apprehends sculpture differently than objects perceived solely by the eye.

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Authors and Affiliations

Kamilla Najdek

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Uniwersytet Warszawski

12 Nihilistyczny idealista w Holandii złotego wieku. Sebastian van Storck Waltera Patera

Bartosz Tarach

Rocznik Historii Sztuki | 2025 | No L | DOI: 10.24425/rhs.2025.158057

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Bartosz Tarach

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Uniwersytet Warszawski

13 Johann Gottfried Herder, Wczesne pisma estetyczne, tłumaczenie, wstęp, opracowanie naukowe Rafał Michalski, Toruń 2024, Wydawnictwo Naukowe UniwersytetuMikołaja Kopernika, ss. 466

Magdalena Krasińska

Rocznik Historii Sztuki | 2025 | No L | 263-272 | DOI: 10.24425/rhs.2025.158058

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Magdalena Krasińska

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Uniwersytet Kazimierza Wielkiego w Bydgoszczy

Instructions for authors

Additional info

Archiving Policy

The journal *Rocznik Historii Sztuki* ensures the long-term preservation of and access to published content through the publishing platform of the Polish Academy of Sciences.
Articles may also be archived in institutional repositories and other academic databases, in accordance with the applicable licenses.

Publication Fees

The journal “Rocznik Historii Sztuki” does not charge any fees for submission, review, or publication of articles. Publication in the journal is entirely free of charge for authors.

Publication Ethics Policy

The editorial board of the “Rocznik Historii Sztuki” abides by publication ethics in accordance with the guidelines of the Committee on Publication Ethics.

Editorial Responsibilities

The editorial board makes publication decisions exclusively on the basis of the scientific qualities of the text, its originality, and its alignment with the journal’s scope and aims. Editors are obligated to maintain confidentiality regarding submitted articles, their authors, and reviewers.

Authors’ Responsibilities

Authors are required to submit only original texts that have not been previously published or sent to another journal. All sources used should be properly cited. Authors are required to comply with copyright laws and obtain all permissions to use copyrighted materials.

Reviewers’ Responsibilities.

Reviewers are asked to provide a thorough, objective, and timely evaluation of the submitted texts in accordance with their knowledge and expertise. Reviewers are obliged to maintain confidentiality and not to use information obtained during the review process for personal aims.

Plagiarism and Academic Integrity

Plagiarism in any form constitutes a violation of publication ethics and is unacceptable. Submitted articles may be subject to verification of their originality.

Conflict of Interest

Authors, reviewers, and editors are required to disclose any conflicts of interest that could influence the review and publication process.

Peer-review Procedure

Review procedures

Submitted articles undergo an initial evaluation by the editorial board to assess if they fit the journal’s scope and compliance with formal requirements. The texts are then sent for double-blind peer review, which means that both authors and reviewers remain anonymous. Each article is assessed by at least two independent reviewers who are not affiliated with the author’s institution. Reviewers are kindly required to maintain confidentiality and not disclose their identities. Reviewers should hold at least a doctoral degree and possess subject-matter expertise relevant to the topic of the article under review. Reviews are prepared using a form developed by the editorial board and take into account criteria such as: originality, scientific value, methodological soundness and demands, and significance for the discipline.

Based on the reviews received, the editorial board decides to:

- accept the article for publication,

- accept the article after revisions,

- send the article back for further review,

- reject the article.