Porta Aurea最新文献

{"title":"Świat zwierząt Daniela Schultza","authors":"Anna Sobecka","doi":"10.26881/PORTA.2018.17.02","DOIUrl":"https://doi.org/10.26881/PORTA.2018.17.02","url":null,"abstract":"Daniel Schultz (1615–1683) was one of the most important painters of his time, highly regarded among the Polish nobility and patricians of his native city of Gdańsk. Schultz’s game and animal pieces resemble works of Flemish artists. His earliest animal picture Trophies in the Pantry is perhaps most Southern Netherlandish in character. Fred G. Meijer attributed to Schultz a painting on the subject of hunting, bearing the monogram “DS” and dated 1649. Schultz also executed a smaller painting, which is a depiction of a fox (or rather a dog) head shown in profile and a bunch of grapes, with some killed birds. Furthermore, two other animal paintings by Schultz are known from the National Museum in Gdańsk. In 2014, a pair of pendant paintings of dead birds appeared on the art market. Their similarity to the Medicean Trophies led the experts of the Artcurial auction house to ascribe them to Schultz. As one compares them with some other works by the Gdańsk artist, the resemblance is even more pronounced. Both paintings are now in a Polish private collection. In the Museum of Fine Arts in Gent there are two other paintings attributed to Frans Snyders and Jan Fyt which could have been painted by Daniel Schultz. The focus on perfectly studied animals, framing of the composition, and a summary treatment of the background are characteristic of him. The ‘Ds 16__’ monogram bears the painting from the Kuscovo Palace (Moscow), which depicts A Heron, a Bittern and a Rabbit. Schultz was the first artist in the territories associated with the Polish-Lithuanian Commonwealth to create independent animal and still life paintings. Possibly a pupil of Elias Vonck, the Amsterdam master active in Prussia, Schultz was also influenced by Antwerp masters such as Frans Snyders and Johannes Spruyt. Schultz’s interest for animal themes and still life may have been connected with characteristic features of the culture of Gdańsk, such as, for instance, a penchant for hunting, viewed both as a pastime and a subject for art. Gdańsk citizens enjoyed the right to hunt as of 1588, earlier than any other European bourgeoisie. Most signed works by Schultz are his depictions of animals. Tis could be an indirect suggestion about the identity of the recipients of Schultz’s depictions of the animal world. As stated above, the Gdańsk citizens had a predilection for hunting pieces; they also cared more than courtiers about the fact that such representations were authored by a Gdańsk artist.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115164770","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":"Nawiązania do tradycji nowożytnej w ceglanej architekturze wczesnomodernistycznej północnych Niemiec","authors":"R. Makała","doi":"10.26881/porta.2018.17.04","DOIUrl":"https://doi.org/10.26881/porta.2018.17.04","url":null,"abstract":"One of the manifestations of the so called ‘conservative modernism’ was the reference to the brick building tradition in Northern Germany. The trend was primarily associated with the activities of Fritz Schumacher and Fritz Höger in Hamburg and Bremen in the 1920s and 1930s, but the genesis of this architecture dates back to the first decade of the 20th century and is associated with the attempts to shape North German patriotism. Just as in the art of neo-Gothic, brick architecture of ‘conservative modernism’ was meant to express the ‘North German Identity’, and in fact help in the creation of identities of the Bismarck Germany. Like the late neo-Gothic architecture, this architecture was perceived as a kind of ‘Hanseatic style’, reflecting the specificity (perceived in a mythologized way) of the Hanseatic League as a prefiguration of the New Germany and their power in maritime trade. Early-modern architecture continued to refer to the art of the past. However, the way of referring to the past changed: with only few quotes from the old art, with a considerable simplification of historical styles’ and so did the historical point of reference. In addition, the modernists became more interested in the brick building of the 17th and 18th centuries, the times of the Baroque and early Neoclassicism. Tis is evident in the works of the most important architects of North German modernism, including Fritz Höger, Fritz Schumacher, or Bruno Möhring but also works of lesser-known, though certainly interesting artists like Johann Garlef, Erich Blunck or Eugen Prinz. The interest of the North German architects of early modernism in brick construction is an element of a wider process that had been thriving in Northern Germany since the early 1900s. Interestingly enough, this process was equally intense in great artistic centres (Hamburg and Bremen) as well as in less-significant cities which were looking for their identity or tried to recreate it, as was the case in Kiel, Lubec or Szczecin. Tis paper is an attempt to show the evolution of this architecture and its most important features. The examples have been selected to show the most important characteristics of this architecture and its geographical range.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"354 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115025174","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":"Krössinsee (zachodniopomorski Złocieniec-Budowo) i inne narodowosocjalistyczne „zamki zakonne”. Budowa – funkcja – kostium stylowy","authors":"Tomasz Torbus","doi":"10.26881/porta.2018.17.05","DOIUrl":"https://doi.org/10.26881/porta.2018.17.05","url":null,"abstract":"In 1934, construction began on training centers for the upper echelons of future NS leadership: the Vogelsang in the Eifel, Krössinsee (Polish Złocieniec-Budowo) in western Pomerania, and Sonthofen in Allgäu. Through the enormous efforts of the German Labor Front (DAF) the training centres, called Ordensburgen (literally: ‘castles of the orders’), were completed in 1936. In the meantime, much literature has been published on all of the NS Ordenburgen, yet an investigation of the genesis and analysis of their form is still lacking, which this essay partially attempts to address. \u0000The intention was undoubtedly to build Ordensburgen on the southern, western and eastern fringes of the Reich distanced less than 60 kilometres from the border. Rosenberg, who had made a statement to this effect in a speech in 1934, coined the name ‘Ordensburg’ in connection with the Teutonic Order – the proud champion of ‘Germanness’. The name evoked other echoes from history: young men who were trained for warfare and administration and who lived a life closed of from outside influences. The name also recalled the medieval orders of knights who exercised their power as a military authority along the frontiers of Christianity from Spain to Palestine. \u0000If we go beyond a formal interpretation of the Ordensburgen, what can be seen in all the three structures is the important symbolic function of towers (two rectangular brick towers were erected in Kroessinsee in 1939). In all of them so-called Tingplätze were built, a kind of open-air theatre for political rallies. Moreover, the architect Clemens Klotz embraced the modern age. In adhering to contemporary thought, he blended the cosiness of the Heimatstil with the monumentality and pathos of Neoclassicism. Other forms are also found, such as oval risalites derived from ‘Neues Bauen’ or the protruding window reveal, or the use of unworked stone blocks, something that was particularly characteristic of NS architecture. Yet despite the name ’Ordensburg’, formal references to medieval architecture are sparse. The most apparent examples are seen in the Sonthofen architecture of Herman Giesler in the proportions of the main tower or the vaulted ceilings of the tavern (the so-called Fuchsbau). \u0000After 1945, the Ordensburgen became the military barracks of the victors: Vogelsang was British until 1950, then Belgian; Sonthofen was American until 1956 and then turned over to the German Bundeswehr; Krössinsee was used by the Soviet army from 1947 or 1948, and afterward became the Polish Budowo. Vogelsang was opened to the public in 2006. Today, we face ongoing questions about the preservation and new uses of the Ordensburg structures and facilities. The designation of the former NS training centres as memorial sites, in which the juncture between Ordensburgen and the NS crimes finds physical expression, will presumably be the sole way to ensure their continued existence. Between 1939 and 1940, approximately 260 Ordensjunkers (the name d","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134132733","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":"Wystawy Związku Plastyków Pomorskich i Grupy Plastyków Pomorskich w Muzeum Miejskim w Bydgoszczy w latach 1930–1936","authors":"M. Borowska","doi":"10.26881/porta.2018.17.06","DOIUrl":"https://doi.org/10.26881/porta.2018.17.06","url":null,"abstract":"The displays of particular artistic associations in the Municipal Museum in Bydgoszcz between 1930 and 1936 are being discussed. The history of Pomeranian artistic associations is not a well-known subject, and no dedicated monographs have been written to date. It appears commonly in the history of the regional chapter of the Polish Association of Visual Artists (Związek Polskich Artystów Plastyków) located in Bydgoszcz. \u0000The basic sources include the Archive of the Leon Wyczółkowski District Museum in Bydgoszcz and information contained in Polish press of the period in question. There were two main goals to be achieved for the Pomeranian artists: while aspiring to equal the art represented by more important artistic centres of the country, to show a close connection with their own region and its Polish heritage. \u0000During the interwar period, a number of artistic organisations appeared in Bydgoszcz. The most significant were the local branch of the Society for the Encouragement of the Fine Arts (Towarzystwo Zachęty Sztuk Pięknych), established in September 1921, and the Artistic and Cultural Council (Rada Artystyczno-Kulturalna), founded in December 1934. \u0000The first exhibition of the Pomeranian Association of Visual Artists (Związek Plastyków Pomorskich) was opened in December 1930 as a summary of the Association’s achievements of that year. It comprised 92 works by 15 artists. Subsequent exhibitions in December 1931 and December 1932 served a similar purpose. The turning point in the history of Pomeranian artistic associations took place in 1933 when – as a result of an internal conflict – the Group of Pomeranian Visual Artists (Grupa Plastyków Pomorskich) was formed. The Group quickly became the leading artistic force of the region, with their first exhibition opening in December 1933. \u0000The 4th annual exhibition of the Group of Pomeranian Visual Artists took place in December 1934, simultaneously with the founding of the Artistic and Cultural Council (Rada Artystyczno-Kulturalna) in Bydgoszcz. The Council coordinated, implemented, and documented artistic movements in specially dedicated sections for literature, music, visual arts and radio, quickly becoming an intermediary between artists and their audience. Tanks to their efforts, the first Salon Bydgoski exhibition was organised in 1936. That very year the Group of Pomeranian Visual Artists changed their name to the Group of Visual Artists of Bydgoszcz. \u0000Both organizations lacked a well-defined artistic programme, whereas their members were mainly connected for non-artistic motivations, such as the possibility to exhibit their works in well-known institutions or prestige. All of the discussed displays were widely covered in the local press, especially by Henryk Kuminek and Marian Turwid, two leading art critics of the region.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131064526","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":"Próby uobecniania tradycji w gdańskiej architekturze lat dziewięćdziesiątych XX wieku","authors":"Dominika Piluk","doi":"10.26881/porta.2018.17.10","DOIUrl":"https://doi.org/10.26881/porta.2018.17.10","url":null,"abstract":"Gdansk architecture of last decade of 20th century by all means tried to reconnect to the Gdansk architectural tradition, especially the glorified 19th-century German/ Gdańsk Renaissance. \u0000The essay aims to present a preliminary analysis of the phenomenon strongly present in the Gdańsk architectural discussion in the nineties: the phenomenon of reconstruction. The city’s architectural achievements of the 19th-century were reinterpreted. Moreover, not only did architects in democratic Poland have to face a new economic situation, but also the need to emphasize the departure from the visual form imposed by the communist system, which, particularly in Gdańsk, took a form of historicism. The complex history of the city, preserved in its architecture, had a huge impact on the aesthetics of buildings designed during the transformation period. Tis thorough introduction is aimed to show commitment to the great tradition of the harbour city, which often resulted in neglecting innovations and modern architectural standards, these forced by the diffcult times of the economic change, as well as the concept of the city’s identity. The article focuses on the examples of buildings erected after 1989, as well as the public opinion debate, which jointly attempted to emphasise the mythical greatness of old Gdańsk.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134547271","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}