Nauki Humanistyczne i Społeczne

Rocznik Historii Sztuki

Zawartość

Rocznik Historii Sztuki | 2011 | No XXXVI |

Abstrakt

This article aims at portraying the figure of Jan Bołoz Antoniewicz (1858–1922), Professor of Art History at the University of
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Mariusz Bryl

Abstrakt

Julian Pagaczewski (1874–1940) was a pupil of Marian Sokolowski at the Jagiellonian University in Krakow; after graduating
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Adam Małkiewicz

Abstrakt

Szczęsny Dettloff (1878–1961) left impressive research achievements and had noteworthy didactic successes, which resulted from his special involvement in scholarly activity. He was a paragon of a morally and politically uncompromising academic teacher, whose life course was marked out by his Polish patriotism and Catholic clergymen ethics. Priest Dettloff’s resumé, as founder of the art history department and the first Poznan professor of art history, is replete with dramatic events, due to the fact that during World War II he was arrested by the Nazis; it was only the intercession of Karl Heinz Clasen, the German art historian, that saved his life. During the Stalinist period, Dettloff was removed from art history department at Poznan University, where he returned in 1956. During his studies in Vienna, Dettloff became acquainted with the methodology of the older Viennese school; Dettloff was a Ph.D. student of Max Dvořak, under whose supervision he defended his Ph.D. thesis entitled Der Entwurf von 1488 zum Sebaldusgrab in 1914. During the inter–war period, he preferred using the Alois Riegl method in his work, which was expressed by emphasis on the stylistic analysis of an examined work of art and the use of genetic and comparative methods. In most of his mature work, however, in which he attempted to interpret the core art of Veit Stoss, he made clear references to the methodology of Max Dvořak, perceiving art history as history of ideas (Kunstgeschichte als Geistesgeschichte).
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Jacek Dębicki

Abstrakt

This article introduces the work of the art historian Tadeusz Mańkowski (1878–1956). He trained as a lawyer and took up art history late, as a private scholar. In 1945 he was appointed Director of the State Art Collection at Wawel. Mańkowski was probably the first Polish researcher who established contacts with foreign orientalists studying the arts, especially in the U.S. and the UK,
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Żygulski Zdzisław Jun.

Abstrakt

This article presents the life and work of Marian Morelowski (1884–1963), an outstanding Polish art historian. He was born at Wadowice (1884), studied French in Cracow, Vienna and Paris (1902–1907) and took his doctorate in 1912. Morelowski worked as an expert on the regaining of Polish cultural heritage from Russia and the Soviet Union (1915–1926) and as a curator in the Royal Castle in Cracow (1926–1929). In 1930 he moved to Vilnius and was awarded the post of Professor of Art History at the local university. After World War II had finished, he continued his academic career in Lublin (1945–1948) and Wroclaw (1948–1960), where he died in 1963. Morelowski’s main fields of research were the artistic relations between Poland and the Meuse region in the Middle Ages, the art of the Vilnius region and medieval and early modern art in Silesia. Morelowski treated his work as an undertaking dedicated to the service of Polish national culture. His research work strictly adhered to the nationalist ideology of the independent Polish state and was opposed to the views of German art historians.
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Adam Kozieł

Abstrakt

Mieczyslaw Gębarowicz (1893–1984) was an historian and art historian, associated all his academic life with Lviv. It was in that city that he graduated before the end of World War I and passed all the stages of his academic career during the interwar period, including the ordinary professorship at the University of Jan Kazimierz. During World War II, he was appointed Director of the National Ossoliński Institute. After the war, when Lviv was incorporated with Eastern Malopolska into the Ukrainian Soviet Republic, he remained in the city despite the loss of his academic degrees; resulting ultimately in his employment as an assistant librarian at the
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Tadeusz J. Żuchowski

Abstrakt

Mieczysław Wallis (1895–1975) authored 18 books, including 15 monographs in art history, the major ones being Autoportret (Self–Portrait, 1964), Późna twórczość wielkich artystów (The Late Works of Great Artists, 1975) and Secesja (Art Nouveau, 1967). Also worth noting is Sztuki i znaki. Pisma semiotyczne (Arts and Signs. Semiotic Writings, 1983).The main contribution of M. Wallis to art history lies in his modern metahistorical reflections, which are based on the firmly held beliefs about close relations between art history and other fields of art and aesthetics. His recommended method is moderate historiosophical relativism. We cannot avoid viewing the art of the past through the present. Changeable evaluations are the consequence of this, as is the relativization of the concepts and findings of art history. Wallis recognizes within the process of reception the important role that scientific discourse and cultural paradigm play. In Secesja
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Teresa Pękala

Abstrakt

Stanisław Jan Gąsiorowski (1897–1962) studied classical archaeology and art history at the Jagiellonian University during the years 1915 –1920, under direction of Piotr Bieńkowski and Julian Pagaczewski. During a one–year stay in Vienna, he attended lectures given by Joseph Strzygowski, Max Dvořák and Julius Schlosser. In 1922, he started his professional career as an assistant in the Chair of Classical Archaeology at the Jagiellonian University. In 1925, he obtained his doctorate and in 1928, he received his habilitation. In 1930 he was named profesor extraordinariusand in 1937 ordinarius. He remained in this position until 1953. In November of
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Janusz A. Ostrowski

Abstrakt

This article introduces the Polish art historian, Zofia Ameisenowa (1897–1967). Her excellent working methodology became the model study of illuminated manuscripts for many contemporary art historians. The priority of Ameisenowa’s research was to create a library understood not as a catalogue, not as an actual institution, but as an environment proper to the circulation of images and ideas. Her publications can be viewed as part of the method for realizing this global project. The mainstream work of the Polish scholar had a ‘positivist’ dimension, and her research system grew from traditional connoisseurship supported by the then most up–to–date knowledge in the field of book studies. Ameisenowa was inspired by scholars such as Giovanni Morelli and Richard Öffner, exponents of the first Vienna School of Art History, and Polish bibliologists like Kazimierz Piekarski and Aleksander Birkenmajer. The nature of Ameisenowa’s research suggests that she not so much practised the history of ideas, but the social history of art. directed at the question of the function of the work of art and the historical ususof dissemination, copying, and image reconstruction in culture. Because of these interests, she had more in common with the matter–of–fact iconography practised by Emile Mâle than with the spectacular iconology of Erwin Panofsky, and any elements of iconological interpretation, if they occur, were for her an intellectual adventure, the prize for the free use of carefully extracted facts. Whether she was examining the tree of life motif, the Hebrew bestiaries, or the deities with animal heads, she did so in order to bridge the gap in knowledge on the transmission of visual motifs from the ancient world to Christian Europe, which she did through finding the forgotten Semitic component. It is worth noting that a separate area of interest for the scholar was Jewish art.
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Anna Olszewska

Abstrakt

Ksawery Piwocki, (1901–1974) whose scholarly activities occurred during a particularly diffi
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Ryszard Kasperowicz

Abstrakt

Zbigniew Hornung (1903–1981) belonged to the first generation of Polish art historians who specialized in the study of Baroque art. Although he had also engaged with the art of the Renaissance, and published several papers on the major works of art of this period in Poland, his main achievements concern Baroque sculpture, architecture and painting in the former Eastern Borderlands of Poland. Throughout his life, he invariably used the classical method of combining historical and archival research with that of a stylistic and comparative nature, and rescued from oblivion the sculptor Antoni Osiński, the painter Stanislaw Stroiński and the architect Jan de Witte, to whom he dedicated separate monographs. He also published a monograph on the sculptor Pinsel, but did not manage to access all the material on the subject. Together with T. Mańkowski, he should be merited with discovering a new phenomenon in art, on a European scale of importance, namely the Lviv’s Rococo sculpture. It should be noted that although banished from his hometown of Lviv after the war, Hornung spent the second half of his life in Wroclaw, where he re–organized Polish museology and art historical studies and remained faithful to borderland issues. In addition to monographic studies on artists and their works, he also undertook some attempts at syntheses of Renaissance sculpture and Baroque architecture in Poland. The most original and at the same time the most controversial was “The problem of Rococo in church architecture of the eighteenth century”, published in 1972. He had the courage to formulate daring hypotheses which did not always find support, causing heated debates. Insensitive to new methods and changing research fashions, he was primarily interested in the form and not the subject of the work of art. We can see in this a fascination for the Wölfflinian method, but also for abstract art, which was born in his lifetime. Hornung’s research also reveals his aesthetic and patriotic motivation, understandably so for the first generation of citizens of the newly reborn Poland. Due to his faithfulness to his principles, he was considered a conservative, even an outsider, at the end of his life.
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Jan Wrabec

Abstrakt

Michal Walicki (1904–1966) studied Art History at the University of Warsaw (1924–1929), where he received his doctorate for his dissertation on the murals in the Chapel of the Holy Trinity in the Castle of Lublin (1418), under the guidance of Prof. Zygmunt Batowski. He worked in the Department of Polish Architecture at the Warsaw Technical University, at the Warsaw School of Fine Arts (later the Academy of Fine Arts), at the National Museum, and the Art History Institute of the Warsaw University. In 1933, his earned his habilitation for his thesis on the stylistic development of panel painting in fifteenth–century Poland. During World War II, he participated in the resistance movement; he was arrested (in 1949) and put in prison. After his release (in 1953), he combined work at the Institute of History of Art at the Warsaw University and the State Institute of Art (later the Institute of Art of the Polish Academy of Sciences). Michał Walicki’s academic activities encompassed a surprisingly wide spectrum of subjects, though his particular field of interest was painting. He had a ‘positivist’ temperament, concerned with a painstaking search for new works of art and the collecting of material, and above all with cataloguing and sharing the collections. In texts written before the war he built a firm foundation for the study of panel painting in fifteenth–century Poland, although his narrow national perspective is now certainly difficult to accept. After his employment at the National Museum in Warsaw, he changed his profile of research, focusing on modern painting (particularly Dutch), but also on the best understood popularization and education through art. After the war, he initiated and coordinated the work on a series of syntheses, setting new standards of quality in Polish academic studies. He belonged to the narrow circle of great humanists who could write about art with passion, in a manner accessible and understandable to all. He developed his own, easily recognizable style, impressionistic in character, well–suited to aesthetic experiences. As an outstanding university lecturer and museum official, he became one of the founders and most important authorities of the Warsaw school of art history, and as a personality had a profound impact on students and friends led by Jan Białostocki. Above all, he instilled in them a broad outlook on matters of art and the importance of publishing in foreign languages.
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Marek Walczak

Abstrakt

Juliusz Starzyński (1906–1974) was an art historian, poet, playwright and actor, as well as director of three institutes of art; for almost forty years he held numerous academic and administrative positions and yet, today, he is almost unknown. So many far–reaching political, cultural and academic methodological changes have occurred since his death that his works are not read today. He was born in Lviv and attended one of the best secondary schools there. He studied history of art at the University of Warsaw and simultaneously attended the famous Reduta Theatre Institute to study acting, appearing on stage all over Warsaw. After finishing his studies, he concentrated on his academic work, quickly advancing to higher levels. By the time war broke out, he had already been awarded a doctorate and was director of the Institute of Art Propaganda and curator at the National Museum in Warsaw, as well as lecturing in the Department of Architecture at the Polytechnic of Warsaw and at the National Institute of Theatrical Art. He spent the war in a Prisoner of War camp for Polish officers in Murnau near Munich. He returned to Poland in 1946 and almost immediately started work at the University of Warsaw and at the Ministry of Art and Culture. In 1949 he initiated the founding of the State Institute of Art, which was transformed in 1959 into the Institute of Art of the Polish Academy of Sciences (IS PAN). Starzyński was director from 1949–1960 and again from 1968–1974. During the Stalin years, he was a supporter of socrealism, but as soon as political pressure began to wane, he abandoned his own published points of view. Internationally, he was very active as a member and deputy chairperson of the International Association of Art Critics. He organised exhibitions of Polish art abroad, among other places, at Art Biennale in Venice. After being dismissed from the position of director of the IS PAN as a result of political conflict with the management, he continued to work there, living in France on scholarships, giving lectures there about correspondance des arts during the Romantic Period, and publishing three books on the subject, two in Polish and one in French. From 1950–1970 he was the director of the Institute of the Art History at the University of Warsaw, where he regularly lectured. From 1966, he was member of the Polish Academy of Sciences. His last book Polska droga do nowoczesności w sztuce (The Polish Road to Modernity in Art), published in 1973, is proof that his views on art and the methods he applied were already, at that time, considered anachronistic. He believed in the romantic–patriotic ethos of national art and sought enduring values in it. Starzyński is today remembered by some as a demagogue of socrealism, by others as a distinguished organiser of academic life during the communist years and above all as someone who helped others, often in difficult matters resulting from the political situation.
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Joanna M. Sosnowska

Abstrakt

This article introduces Jan Białostocki (1921–1988), who is considered the most outstanding Polish art historian, and who belonged to the world’s elite humanist scholars of the twentieth century. Throughout his life, Bialostocki was associated with two institu-tions: the Institute of Art History at the Warsaw University and the National Museum in Warsaw. He lectured at numerous European and American universities. He was a member of several European Academies of Sciences, and Vice–President of the Comité International d’Histoire de l’Art, Conseil International de la Philosophie et des Sciences Humaines. He also received the Warburg–Preis award. Białostocki was the author of over 500 major scholarly publications, including such fundamental works as: Les Primitifs Flamands: Les Musées de Pologne (1966), Spätmittelalter und beginnende Neuzeit (Propylaen Kunstgeschichte VII, 1972), The Art of the Renaissance in Eastern Europe: Hungary, Bohemia, Poland (1976), and Il Quattrocento nell’ Europa Settentrionale (1989). His main focus was on iconology, which he developed, often arguing with its founder, E. Panofsky. He proposed the modus theory in art history, which made an important impact on Western art literature, as well as the category of “framework theme” (Rahmenthema). Białostocki also put forward a comprehensive vision of the methods of art history. Accordingly, the study of a work of art would include analysing it as: a physical object; a product of technology; a formal structure; a social function (purpose and historical reception). Then an analysis of its genesis would follow: as a product of a historical period, of taste and style; as a product of a particular artistic milieu; as a product of a community; as a product of a concept of art (such as theoretical formulae, or particular views on art); as a product of an artistic personality. The next step should be the analysis of the reception and the works: as an object being judged and evaluated in the history of its Nachleben, as public or private property, as an object of criticism or admiration in literary sources and the social history of taste, as subject to various transformations, manipulations, and finally as subject of a scholarly analysis. Separate from, and very important to Białostocki’s interests, and to which he brought a new outlook, was the problem of the relationship between the center/periphery, metropolitanism/provincialism – he fought with the stereotyped geohistory of European art caught in the paradigm of centralism, Eurocentrism, Italocentrism or Francocentrism.
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Antoni Ziemba

Instrukcja dla autorów

Redakcja oczekuje na teksty dotąd niepublikowane w całości lub większych fragmentach i które w uzasadnionych przypadkach mogą stanowić bardzo rozszerzone i mocno zmodyfikowane wersje już opublikowanych artykułów. Redakcja, rezerwuje sobie prawo do trzyletniego od daty publikacji embarga na teksty wydrukowane na łamach „Rocznika”. Jednocześnie musimy zaznaczyć, że zgodnie z zasadą wprowadzoną przez władze Polskiej Akademii Nauk dla wszystkich czasopism wydawanych przez Akademię, poczynając od 2005 r. teksty publikowane w „Roczniku Historii Sztuki” nie są objęte honorariami.
Konsekwentne stosowanie podanych zasad w nadsyłanych tekstach pozwoli na ujednolicenie strony edytorskiej wszystkich tekstów i znaczne przyspieszenie pracy redakcji, która nie ma pracowników etatowych. Przestrzeganie poniższych norm umożliwi też obliczenie objętości tomu. Redakcja zastrzega sobie prawo wprowadzania zmian oraz odesłania autorom tekstów, w przypadku nieprzestrzegania poniższych ustaleń.

I. Normy tekstu
1. Teksty prosimy dostarczać zarówno w postaci drukowanej jak i elektronicznej; w postaci drukowanej prosimy o dwa egzemplarze tekstu artykułu, streszczenia w języku polskim i w miarę możliwości w języku angielskim, podpisów pod ilustracje i jeden zestaw ilustracji roboczych (w postaci wydruku lub kserokopii); elektroniczne wersje wyżej wymienionych prosimy zapisywać na płycie CD – w  przypadku dokumentów tekstowych w formacie *.doc lub *.rtf (lub analogicznym), zaś w przypadku ilustracji w formacie *.tiff (preferowana rozdzielczość 300 dpi i wyższa); dokumenty (artykuł, streszczenia,  podpisy pod ilustracje prosimy umieszczać w odrębnych plikach o nazwach informujących o ich zawartości (ilustracje prosimy zgromadzić w oddzielnym folderze, a zawierającym je plikom dać nazwę „NAZWISKO-nr porządkowy”, przy czym nr porządkowy winien odpowiadać numerowi ilustracji w odsyłaczu zawartym tekście i w podpisach); prosimy nie „wklejać” ilustracji do tekstu, lecz wyraźnie zaznaczyć, w którym miejscu są one przewidziane.
2. Objętość streszczenia polskiego nie może przekraczać ustalonej proporcji, która wynosi jedną stronę znormalizowanego tekstu (1.800 znaków) na jeden arkusz wydawniczy (40.000 znaków (ze spacjami)); długość streszczenia w języku angielskim winna zaś mieścić się od połowy do dwóch trzecich strony.
 
(Autorzy są proszeni o streszczenia w języku angielskim celem ich publikacji w „The Central European Journal of Social Sciences and Humanities” (http://cejsh.icm.edu.pl). Jest to pismo ukazujące się od 2004 r., wydawane przez akademie nauk czterech państw Grupy Wyszehradzkiej. Publikuje ono streszczenia prac wydrukowanych w czasopismach naukowych zakwalifikowanych przez  KBN do grupy A i B, a wiec także „Rocznika Historii Sztuki”. We własnym interesie autorów leży wykorzystanie tej nowej możliwości rozpropagowania swoich osiągnięć w formie powszechnie dostępnej na całym świecie. Zaznaczyć należy, że pismo to cieszy się dużą poczytnością – w 2008 r. stronę WWW odwiedziło ponad 225 tys. użytkowników)

3. Przy wydruku prosimy o przestrzeganie następujących zasad: czcionka Arial, 12 pt., odstęp między wierszami 1.5, margines lewy nie mniejszy niż 4 cm (konieczny); przypisy – czcionka Arial, 10 pt., odstęp między wierszami 1.5; ewentualnie: czcionka Times New Roman, odpowiednio 13 i 11 pt. – odstępy między  wierszami, marginesy bez zmian; fotografie, kserokopie rysunków, etc. dołączone do tekstu powinny być opatrzone numerem porządkowym i na odwrocie opisane w myśl niżej podanych zasad.


II. Przypisy:
• przypisy, zarówno bibliograficzne jak irozumowane, rozpoczynamy dużą literą, kończymy kropką.

1. Książka:
•&

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