{"title":"Programy heraldyczne w dekoracji kościołów parafialnych w Kraśniku i Chodlu","authors":"Adam Socko","doi":"10.14746/AQ.2016.27.1","DOIUrl":"https://doi.org/10.14746/AQ.2016.27.1","url":null,"abstract":"The essay is an analysis of coats of arms, mainly from the second quarter ofthe 16th century, connected with the architecture and decoration of thechurch of the Regular Canons in Kraśnik and the parish church in Chodel. The identification of numerous coats of arms used to decorate the keystones,supports, portals, balustrades, and facades of the Kraśnik church confirms two stages of its construction by two branches of the Tęczyński family (coat of arms Topór ) in the 15th and 16th centuries. The identification of the coatsof arms painted on the chancel vault of the church in Chodel determines thedating of its decorations and commemorates the town’s proprietors – theMaciejowski family and their family connections in the second quarter of the16th century. The identification of the coats of arms makes it possible to proposeprecise dating of the construction of both churches.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131830802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Malarstwo materii w Polsce. Na marginesach odwilżowej \"nowoczesności\"","authors":"Maria Jankowska-Andrzejewska","doi":"10.14746/aq.2016.27.8","DOIUrl":"https://doi.org/10.14746/aq.2016.27.8","url":null,"abstract":"The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132042243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Trzy kroki w stronę obrazów. Pierre Bonnard i percepcyjne opóźnienie.","authors":"Łukasz Kiepuszewski","doi":"10.14746/AQ.2016.27.4","DOIUrl":"https://doi.org/10.14746/AQ.2016.27.4","url":null,"abstract":"The essay is an analysis of three interpretations of Pierre Bonnard’s paintings offered by Jean Clair, John Elderfield, and Yves-Alain Bois. Their approaches are crucial in the context of the revaluation Bonnard’s works and his place in the history of modern painting, which has been continuing since the 1980s. Today’s scholars have been interested mostly in his late works from 1920-1947. At that time the artist created a multidimensional pictorial synthesis which addressed the most advanced dilemmas which appeared in the first half of the 20th century. The critical opinions analyzed in the essay, referring to physiology and the psychology of perception, the cognitive conditions of visual perception, and specific philosophical traditions, stem from individual visual experience and demonstrate significant tensions. Taking the painting as a starting point triggers differences in interpretation not just at the level of theoretical discourse, but in respect to visualization itself. Bonnard’s works significantly program the process of visual perception – grasping the changing rhythm of relation between the center and periphery and moving toward fixations scattered in the visual field. The specific composition of paintings makes the spectator deconcentrate; it can be grasped in an act of perception which extends in time. Such “delay” of perception means that Bonnard’s paintings are a challenge to the gestalt psychology which prevails in the analytical practice of art history. The unique quality of Bonnard’s works, based on the coexistence of the rhythms of organization and disorder,shows no superior coherence of the gestalt. They establish an “inconclusive” relation between the part and the whole, which results in continuing deference and delay of the integration of motifs and elements of the pictorial field. The discussed episode in Bonnard’s art’s reception confirms a belief that “he is not a painter for those in a hurry. The phenomenon of the perceptive delay seems to be significantly connected with the delay in discovering such qualities by art historians.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"107 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123240170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Rudolf Berliner i jego wkład w rozumienie chrześcijańskiego obrazu","authors":"Robert Suckale","doi":"10.14746/AQ.2016.27.10","DOIUrl":"https://doi.org/10.14746/AQ.2016.27.10","url":null,"abstract":"Rudolf Berliner i jego wkład w rozumienie chrześcjańskiego obrazu","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127490943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Architektur und Städtebau im geteilten Polen des 19. Jahrhunderts im politischen Kontext","authors":"Agnieszka Zabłocka-Kos","doi":"10.14746/AQ.2016.27.2","DOIUrl":"https://doi.org/10.14746/AQ.2016.27.2","url":null,"abstract":"The essay, focusing on architecture in the nineteenth-century partitioned Poland, is an attempt to read its meanings in the context of the colonial policies of Russia, Prussia, and the Austro-Hungarian Empire. The analyzed material includes selected buildings and city centers of Poznań, Warsaw, and Cracow, while the problems addressed are the encoding of urban space meanings and its deciphering in the context of complex nineteenth-century Polish history.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133103524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dermatologia malarska. Obraz skóry a skóra obrazu","authors":"M. Smolinska","doi":"10.14746/AQ.2016.27.6","DOIUrl":"https://doi.org/10.14746/AQ.2016.27.6","url":null,"abstract":"Since the 1990s, the motif of mimetically reproduced human skin, concentrating the recipient’s attention on the sense of touch and on the surface which separates theinside from the outside, seems to have been more and more popular. It has been quite ostentatiously exposed in the works of such well-known artists as Ron Mueck, Patricia Piccinini, Pipilotti Rist, John Isaacs, and Nicole Tran Ba Vang, becoming anemblem of the present. The paradox is, however – and this is one of the claims formulated in the present essay – that the motif’s most complex versions do not appear in photography, installations or the new media, but in easel painting which has been often dismissed as inadequate to new ideas. To provide evidence – the paintings of Magdalena Moskwa, Bartosz Kokosiński, Paweł Matyszewski, Grzegorz Sztwiertnia, Saskia de Kleijn, and Marina Schulze – the author has distinguished the so-called painterly dermatology. The present time, which offers no striking generational manifestoes or dominant artistic currents, has brought us a revealing metaphor coined by Yuri Lotman who compares the activity of artists to the dissociated energy of a minefield where we can here random explosions but it is impossible to predict if and where they will actually take place. Thus, it is the author’s contention that the painterly dermatology can be perceived as one of such explosions – they can be distinctly “heard” on the contemporary global art stage and included as a singular phenomenon in a broader tendency connected to the exploration of the body in the era of media convergence.The selected artists, who have identified the motif of skin with the surface of a painting, have a initiated tension between the transformation of the body into the body of art, which is significantly close to the tradition of religious painting, and the transposition of the human skin into the skin of a painting, which stresses a metapainterly aspect and a dialog with the potential of the medium. The complexity of the painterly dermatology inaugurates a narrative which runs across not only of modernism and postmodernism, but also a centuries-old artistic tradition. Moreover, skin as a limit phenomenon is situated between the inside and the outside, putting this dualistic division into doubt. As a topic, it is both archaic and contemporary. Also, it should not be forgotten that the growing interest in the motif of skin is taking place in the context of changes of the hierarchy of the senses, downgrading sight in favor of touch and the tactile qualities of art which activate the sensomotoric and soma esthetic perception. After all, the sense of touch has always been located in the skin. Referring to Geoges Didi-Huberman, Hans Belting, and David Freedberg’s anthropology of painting as well as to Vilém Flusser’s extended philosophical dermatology, the author suggests that the easel painting provides the ground for the most complex artistic experiments in which the medium continues its self-","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134565658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Das Kaum Noch Sichtbare Sichtbar Machen","authors":"K. Heck","doi":"10.14746/aq.2016.27.3","DOIUrl":"https://doi.org/10.14746/aq.2016.27.3","url":null,"abstract":"The so-called faraglioni painting (Faraglioni-Landscape), painted in ca. 1837 byCarl Blechen (1798-1840) and held at the National Museum in Poznań is one of hismost unusual achievements. What can be seen in the picture are rocks protrudingnear the shore of Capri, the so-called faraglioni – a characteristic motif of romanticpainting. Still, Blechen was interested in more than just a mimetic representation ofthe rocks. Experimenting with extremely changing light, he intended to find the limits of visibility. Such attempts at playing with optical phenomena were typical for his works painted after his visit in Italy in 1829/1830. Examining color effects conditioned by changes of light was for Blechen a kind of necessity. It should be remembered that dioramas were particularly popular in that period. In Berlin they were shown, among others, by the Gropius brothers for whom, according to the records, Blechen was working. In dioramas, illumination from the back was just as obvious as presenting pictures in changing light. Blechen found the changing intensity of illumination interesting, which can be seen in his paintings.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123177985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Twórczość Aliny Szapocznikow w świetle hermeneutyki egzystencjalnej (na wybranych przykładach)","authors":"Marcel Skierski","doi":"10.14746/aq.2016.27.5","DOIUrl":"https://doi.org/10.14746/aq.2016.27.5","url":null,"abstract":" The essay is a response to a biographical dominant of the critical discourse on the works of Alina Szapocznikow. It seems to miss an aspect of her sculpture which isthe most important from the point of view of art history – that of the impact of thespecific works on the spectator. Such an objective of art history has been formulated by Michael Brötje, the founder of the existential-hermeneutic study of art. That radical theory, based on the dismissal of the discourses which are external to the artistic object, instead turning the critic’s attention to the medium as the meaningful foundation of the work, is adequate to a perspective adopted in the present essay. It has been modified to fit sculpture since Brötje himself applied it mainly to painting. The essay includes analyses of her three works: “Stopy (Fetysz V),” “Maria Magdalena,” and “Dwuczęściowa.” In each case, the existential-hermeneutic method has been applied; focusing mainly on the impact of the medium, as well as the term “creation-analogy” has been used, also originally introduced by Brötje. That term makes it possible to express nonreflective qualities which constitute the meanings of the works in question. The descriptions present evidence that such qualities are inseparably connected to the substance of sculpture and stem from its structural order.The analysis of “Stopy (Fetysz V)” introduces the term “creation-analogy,” demonstrating that a description which reveals the artifact’s impact does not have tobe related to meanings implemented by external discourses. Autonomous reflectionon the work’s medium points at a visual analogy to the key stages of the history of salvation described in the Bible. A biblical parable, so distant from the usual contexts which have determined the perception of the work, coherently grasps each of the sculpture’s elements. Another analysis proves that the content can be intentionally grafted on the medium. In “Maria Magdalena,” Szapocznikow presented in a concise way the life of the title figure, including the stages of her advancement to sainthood shown in the Scripture. That allowed the critic to show a possible connection of the artist’s intention with a visual analogue. The description offered stresses also the formal complexity of the sculpture, which makes it difficult to follow the perceptual logic of the work. That contributes to a network of meanings, graspable only through non-rational contemplation. The last analysis demonstrates that Szapocznikow’s works can also generate parables which are not related to religion. “Dwuczęściowa” turns out to express the artist’s opinion on the influence of technology on human life. Still, the sculpture reveals also meanings far from those opinions, activating the archetype of “Mother-Earth.” That analogy, unrelated to biblical topics, is quite general, yet intelligible to all spectators who enjoy contemplation. The conclusion is that the results presented must be systematized to become a starting point f","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128558205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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