Wyniki wyszukiwania - Biblioteka Nauki

1

Rola architektów znad jeziora Como w rozprzestrzenianiu się renesansu w Europie na przykładzie rodziny Parrów

100%

Arlet J.

Przestrzeń i Forma

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2015

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tom nr 24/1

223--236

PL

Obszar działania rodziny Parrów i spokrewnionej z nią rodziny Niuronów ma imponujący zasięg – od Dolnego Śląska po Warszawę, Berlin i Sztokholm. Rozrzucone na tak rozległym obszarze realizacje prowokowały pytanie o przyczynę takiego stanu rzeczy.

EN

The area of activities of de Pario family and related to them the Niuron family have impressive range from the Lower Silesia to Warsaw, Berlin and Stockholm. Scattered over such vast spread, their objects evoked questions about reason of this state of affairs.

2

Atlas miast idealnych. XVI – XVIII wiek

84%

Szpakowska E.

Przestrzeń i Forma

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2012

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tom nr 17

165--188

PL

Atlas jest chronologiczną prezentacją przykładów miast idealnych z wieków XV–XVIII, od renesansu po oświecenie. Zawarto w nim europejskie przykłady miast oraz pojedyncze budynki i zespoły architektoniczne (uznając niejednoznaczność definicji terminu „miasto”). Wobec znikomej ilości realizacji miast idealnych oparciem dla analizy były też projekty opisane w tekstach źródłowych. W atlasie zawarto usystematyzowaną charakterystykę cech architektoniczno – urbanistycznych każdego z przykładów zebranych na podstawie literatury tematycznej, opisu autora i dokumentacji ikonograficznej (dwuwymiarowych planów miast albo ich schematów, widoków przestrzeni miejskiej lub poszczególnych budynków).

EN

The atlas is a chronological presentation of examples of ideal cities from the XVth till the XVIIIth century, from the Renaissance to the Enlightenment. It contains European cities’ examples and (as the term "city" is ambiguous) individual buildings and architectural complexes. The analysis is based not only on built examples, but also on projects and studies. The atlas contains descriptions of architectural and urban characteristics of all examples, based on the thematic literature, author’s description and iconographic repre-sentations (plans of the cities, diagrams, views of the urban space and buildings).

3

Lot z córkami - manierystyczny pejzaż Martena van Valckenborcha w zbiorach artystycznych Instytutu Historii Sztuki KUL

84%

Przylicki K.

Roczniki Humanistyczne

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2013

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tom 61

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nr 4: Historia Sztuki

121-147

EN

The collection of ancient art at the John Paul II Catholic University of Lublin has some outstanding specimens of foreign painting, including the first-class painting by the Flemish artist Marten van Valckenborch (1534-1612), entitled A Flight with the Daughters (fig. 1-3) has a special place there. Painted on three oak planks, originally butted, it came to the CUL in three parts. After painstaking restoration works conducted in 1998-1999 in the Workshop of Painting and Sculpture Conservation of the Archdiocesan Museum of Religious Art in Lublin by Krzysztof Kawiak, the warped planks were straightened out in stocks and merged again. The painting was cleaned by removing secondary re-paintings and thick layers of darkened varnish, which resulted in revealing the painter’s authentic signature: MARTEN VAN / VALCKENBORCH / DEN AVDEN / FECIT 160[9?] in its left-hand bottom corner. The presented picture was painted after 1600, which is proven by the date placed in the signature; unfortunately, its last figure is illegible. It perfectly well became part of the final stage of Marten van Valckenborch’s work, called fantastic, that began around 1597. Intricately painted, dynamic mountain landscapes with religious scenes, as well as with blast-furnaces and blacksmith's shops, were the basic motifs in the works belonging to that period. Perhaps there would be nothing special in it, if not for the fact that up till then views of the mountains appeared only sporadically in Marten's painting. A change in artistic preferences of the author of our painting coincided with the death of his younger brother Lucas, in whose works this subject matter dominated for at least twenty years. Marten's style of the late period of his life has also distinct features of the work of his sons – Frederik (1566-1623) and Gillis (1570-1622), outstanding representatives of Netherlandish late Mannerism, who in the 1590s made a study trip to Italy, as well as of Tobias Verhaecht's (1561-1631) and Joos de Momper's (1564- painting. The pretext to show a vast mountain landscape in our painting was the final episode of the history of Lot described in Genesis (Gen. 19), when his daughters, convinced that „there is not a man in the earth”, „that night […] got him drunk with wine” (Gen 19,33) in order to be able to have sex with him. Among Marten van Valckenborch’s works River Valley with Iron Smelter from the Wichmann-Basner’s old collection in Sopot is the closest analogy to our painting; now it is kept at The Grohmann Museum Man at Work Collection at the Milwaukee School of Engineering (fig. 4). Especially a concurrence in composition and the use of similar chiaroscuro and color effects is clearly seen. Also a stone arcaded bridge is a common element in the two pictures. There are also blast-furnaces and blacksmith’s shops in our scene, albeit the artist put them in the background. The few paintings representing the final, fantastic stage that have been preserved are in private collections today. This situation makes it necessary to restore the painting from Lublin to the position it deserves and to arouse interest in it in broad circles of researchers.

4

Stalle w Kalwarii Zebrzydowskiej w świetle odkryć dokonanych podczas ostatniej konserwacji

84%

Pytlarz E.

Ochrona Zabytków

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2013

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nr 1-4

61-74

EN

During the renovation of the stalls, situated in the choir of monastery church Our Lady of Angels, done in 2010 we have found several important things. The stalls, with many seats in 2 rows, were put along 3 walls of the choir. There were many times before mentioned in literature, but always dated after 1632 or even later. They consists of many parts made in different times, but the oldest and most interesting are backs of the seats: in the architectural shape with scenes from the life of Holy Mary in bas-relief, surrounded by strapwork ornament. When there were dismantled first time since end of XVII century, on the other side was found, written in sanguine, date: “1617 in Augusto” with signatures of – no doubts – authors. There were several names, sometimes hard to read: twice appeared name of Thomas Barwinek from Krakow; one, of which we know only origin “ from Sieciechow”, then “Tobias Pokorny”, “Alensa[kowicz?]” and others. Beneath, with a different writing character was found inscription: “1696 die 22 Mai”. The first inscription means the end of work on stalls, and it is exactly the same, as we can date basing on the strapwork ornament. Analysing 2 middle scenes we assume that they concern episode of St. Francis ’s life, exactly the moment when he asked for indulgence for pilgrims coming to pray at the church of Holy Mary of Angels, also called Porziuncula by Assisi. This choice of scenes, without anything common to the main subject, is probably connected with similar indulgence, that Franciscan church in Kalwaria obtained in 1612. It indicates, that they started to carve the stalls in 1612 or just after that date. Both scenes are also connected with the name of church – the same as by Assisi. The first of them, Adoration of Holy Mary with Jesus by St. Francis and Franciscan monks, has added later 3 carved coats of arms, connected with Michal Zebrzydowski – the youngest member of Zebrzydowski family – monastery founders. Maybe the seat beneath coats of arms was reserved to this family? During the renovation it was decided that backs of the stalls were made as a whole and nobody ever planned to paint them, apart from mussels, put over bas-reliefs, which were painted blue and gilt. The only added elements were small bas-reliefs, nailed over the primary decoration of frieze: blue panels with gilt sentence, which was part of primer prayer to St. Francis. They were made in the same style as the rest of decoration, so they are probably coming from the first baldachin, removed in 1696. In that time the church was enlarged and they made the new baldachin in a form of balcony with balustrade and wooden vases – similar to the new music choir. Both baldachin and balustrade were later on changed once again. The present balustrade, looking very primitively as a kind of naïf Baroque , was made during the church renovation in years 1793-1832. This renovation, done by father Tulinski, was much criticised later. Stalls were then renovated around half of XIX cent., when were made present lower benches, baldachin, columns and lectern. There were decorated with wooden inlays and veneer, the same as furniture in the sacristy, with date on them: 1859. The last elements were added after the monographic essay on Kalwaria, written by prof. Szablowski in 1933. There were carved quite primitively in pinewood. The last discovery reminds us names of authors. I also proves,that stalls are older than it was suspected. We estimate them as a very good example of early Dutch Mannerism style in Poland. Backboards, together with the oldest chapels of Kalwaria make evidence, how far to the south of Poland came influences of North European art. Maybe it was because of Paul Baudarth, chapels’ designer, who probably brought to woodcarvers some graphic patterns, or maybe made some sketches himself? Translated by Elżbieta Pytlarz

5

Sgraffita geometryczne na Śląsku w dobie renesansu i manieryzmu

84%

Jagiełło-Kolaczyk M.

Architectus

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2000

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tom Nr 1(7)

47--60

PL

Śląsk, w granicach z XVI i XVII w., uznać należy za największe, po terenach czesko-morawskich, skupisko dekoracji sgraffitowych w Europie środkowowschodniej3. Do takiej oceny upoważnia niezwykła popularność występowania sgraffitów na tym terenie. W trakcie badań prowadzonych na Śląsku w latach 1991-1993, rozszerzonych o kwerendę źródłową [11] oraz różnego rodzaju opracowania potwierdzono występowanie dekoracji sgraffitowych na ponad 290 obiektach4. Nie tylko jednak powszechność stosowania tego sposobu zdobienia ścian w okresie renesansu i manieryzmu czyni ze Śląska miejsce wyjątkowe5. Nie mniej ważny wydaje się wkład, jaki wniesiono na tym terenie do rozwoju-na niespotykaną skalę - form dekoracji sgraffitowej o charakterze geometrycznym6 (mających włoski rodowód), a także stworzenie nowej kompozycji, zwanej ramową.

EN

The subject of the article are geometrical graffiti which composed the most popular manner of decorating building elevations in the period of Renaissance and Mannerism in the region of Silesia. The analysis of forms in which the geometrical graffiti were realized, was based on comperative material from over 70 buildings chosen from over 290 objects on which the occurence of graffiti was determined. The geometrical graffiti originating from the region of Silesia have been divided into five groups: 1. Quarter rustic work. 2. Elliptic rustic work. 3. Bony motives. 4. Wattling and 5. Framed compositions. Examples illustrating representations of the particular groups have been given. Attention has been drawn to the influence of patterns of Sebastian Serlia on the shaping of some geometric graffiti forms. Common features of some motives with Czech graffiti have been noticed; features characteristic to geometric graffiti from Italy, Austria and Switzerland have been presented. Forms of geometric graffiti not having - in the light of present investigations - direct analogies, i.e. rustic work, elliptic and the type of graffiti based on the frame structure, have been pointed out. A hypothetical reconstruction of two decorations of this kind has been carried out. Probable, although distant inspirations for them, have been shown. On this basis a thesis has been educed on the original contribution of Silesia into graffiti ornamentation, at the same time suggesting that the richness of geometric forms not found elsewhere, most often created by local trained graffiti artisans, formed a specific compensation for scarse, in this region, figurative motives demanding artists from abroad.

6

W szklanej kuli tradycji

71%

Woźniewska-Działak M.

Studia Norwidiana

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2020

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tom 38

252-264

EN

The article is a review of Agata Seweryn’s book Between the Worlds. Studies in the Literature of the Enlightenment and Romanticism. The review’s author presents the composition of the book and examines the research problems raised in it in greater detail. She comments on the studies included in the publication as interesting suggestions for interpretive supplements of selected romantic poems and works. She draws attention to those aspects that reveal the richness inherent in the works, and not yet described enough. They are introduced by references to the Baroque tradition or reflection on normative poetics and rhetorics.

PL

Artykuł jest recenzją książki Agaty Seweryn Pomiędzy światami. Studia z literatury oświecenia i romantyzmu. Autorka omawia kompozycję książki oraz szczegółowiej przygląda się problemom badawczym w niej poruszonym. Zamieszczone w publikacji studia komentuje jako interesujące propozycje uzupełnień interpretacyjnych wybranych wierszy i dzieł romantycznych. Zwraca uwagę na te aspekty, które odsłaniają tkwiące w utworach a nie wystarczająco dotąd opisane bogactwo. Wprowadzają je odniesienia do tradycji barokowej i refleksja nad poetyką normatywną i retoryką.

7

O (nie)przydatności cezury roku 1600 w historii muzyki

67%

Jeż T. M.

Prace Filologiczne. Literaturoznawstwo

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2021

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nr 11 (14)

45-58

EN

The artistic manifesto of Florentine Camerata is widely regarded as a breakthrough moment not only in musical stylistics but also in theoretical reflection on music. In traditional musicography, the year 1600 appears to be a fairly clear border separating the Renaissance from the Baroque. However, the musical designations of both periods are very vague and their application inevitably leads to contradictions. The solution to these contradictions can be a model of interpretation of the history of music that links musical creation with the current of humanistic inspirations that have been present in European culture at least since the mid-sixteenth century and lasting for the next hundred years. This trend has led to a significant re-evaluation of the issue of style in music, which reflects the concept of mannerism quite well.

PL

Artystyczny manifest florenckiej Cameraty powszechnie uważa się za przełom nie tylko w stylistyce muzycznej, ale także w teoretycznej refleksji nad muzyką. W tradycyjnej muzykografii cezura roku 1600 jawi się jako dość wyraźna granica oddzielająca renesans od baroku. Muzyczne desygnaty obydwu tych epok są jednak bardzo niejasne, a ich stosowanie nieuchronnie prowadzi do sprzeczności. Za ich rozwiązanie posłużyć może taki model interpretacyjny, który wiąże twórczość muzyczną z nurtem inspiracji humanistycznych, obecnych w kulturze europejskiej co najmniej od połowy wieku XVI i trwających przez kolejne stulecie. Nurt ten doprowadził do znaczącego przewartościowania kwestii stylu w muzyce, co dość dobrze oddaje pojęcie manieryzmu.

8

“Why so serious?” – The joke as a means of expression in architecture

67%

Szczegielniak A.

Czasopismo Techniczne. Architektura

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2015

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tom Y. 112, iss. 9-A

337--342

EN

The paper presents the joke as a means of expression used in architecture. The author debates whether the architecture should always be serious. The paper describes and gives historical and contemporary examples of how the comical effect is achieved in architecture. The paper is also an attempt to explain and understand what the jokes in architecture are used for.

PL

Artykuł podejmuje temat żartu jako środka wyrazu używanego przez architektów. Autorka zastanawia się czy architektura musi być zawsze serio. W tekście opisano na przykładach obiektów współczesnych i historycznych, w jaki sposób uzyskiwany jest efekt komiczny w architekturze. Artykuł to również próba wyjaśnienia do czego może służyć żart w architekturze i kiedy jest przydatny.

9

Renowacja hełmu wieży kościoła św. Trójcy w Żórawinie

67%

Szymków M. , Gorzelańczyk T.

Materiały Budowlane

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2022

|

tom nr 11

102--105

PL

W artykule przedstawiono opis stanu technicznego oraz zakres renowacji hełmu z ośmioboczną latarnią XVII-wiecznego manierystycznego kościoła św. Trójcy w Żórawinie. Świątynia nazywana Perłą Manieryzmu stanowi zabytek klasy europejskiej aspirujący do wpisu na listę Pomników Historii. W artykule opisano stan techniczny konstrukcji wraz z pokryciem oraz omówiono proces przeprowadzonej renowacji. Wskutek wielusetletnich procesów destrukcyjnych, zniszczeń wojennych, jak również korozji biologicznej elementy konstrukcji wraz z połączeniami ciesielskimi hełmu zostały poważnie uszkodzone. W połączeniu z silną perforacją miedzianego pokrycia zaistniało zagrożenie zniszczeniem całej konstrukcji hełmu. Po szczegółowym rozpoznaniu stanu obiektu przeanalizowano możliwości remontu hełmu z uwzględnieniem zaleceń konserwatorskich.

EN

The article presents the technical condition and the scope of renovation of the helmet with an octagonal lantern from the 17th century mannerist church of the Holy Trinity Church in Zorawina. The temple, called the Pearl of Mannerism, is a monument of the European class that aspires to be entered on the list of Historical Monuments. The study describes the technical condition of the structure with its covering, and a broad discussion of the renovation process. As a result of centuries-old destructive processes, war damage as well as biological corrosion, the elements of the structure and the helmet's carpentry joints were seriously damaged. In conjunction with the strong perforation of the copper cladding, there was a risk of destroying the entire structure of the helmet. After a detailed examination of the condition of the building, the possibilities of repairing the helmet were analyzed, taking into account the conservation recommendations.

10

Work of the Parisian Wotton’s Binder «C» from 1564 in the Collection of the Gdańsk Library of Polish Academy of Sciences

67%

Wagner A.

Toruńskie Studia Bibliologiczne

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2016

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tom 9

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nr 1(16)

101-119

EN

The present authors have conducted an analysis of one of the relics of modern Western European bookbinding found in the collections of the Gdańsk Library of Polish Academy of Sciences: the so far unidentified binding of Wotton’s Binder «C», acting in Paris between the 1540s and at least the year 1564. The work has a characteristic orientalised decoration, which fits in with the trends of the French bookbinding ornamentation from 2. half of XVIth C. Its composition was based on centre moorish-ribbon medallions, corner quarter-medallions and adornments of the à semé type. A book clothed in this cover was first located in the collections of a certain Ioannes and later in the collections of a bibliophile from Gdańsk, Daniel Czirenberg (Zierenberg).

PL

W artykule dokonano analizy jednego z zabytków nowożytnego introligatorstwa zachodnioeuropejskiego w zbiorach Biblioteki Gdańskiej PAN: dotąd nie zidentyfikowanej oprawy Introligatora Wottona «C» działającego w Paryżu między latami 40. XVI w. a przynajmniej 1564 r. Dzieło to ma charakterystyczną dekorację orientalizującą, która wpisuje się w tendencje francuskiego zdobnictwa introligatorskiego 2. połowy XVI w. Jej kompozycję oparto na centralnym medalionie maureskowo-wstęgowym, narożnikowych ćwierć-medalionach, oraz zdobieniach à semé. Książka w tej oprawie znajdowała się pierwotnie w zbiorach bliżej nieznanego Ioannesa, a następnie bibliofila gdańskiego, Daniela Czirenberga (Zierenberga).

11

Palace at Żyrowa. Transformations from the 15th to early 20th centuries

67%

Legendziewicz A. , Marcinów A.

Architecture Civil Engineering Environment

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2020

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tom Vol. 13, no. 1

41--56

EN

The paper presents the results of research carried out in the palace at Żyrowa. The introduction discusses the architecture of the palace, analyses source references to the site and identifies successive owners. The architectural research into technology, building material and architectural detail, as well as iconographic studies were the basis for the considerations. They gave grounds for the identification of the oldest building that dates back to the Gothic period and of the scope of the Mannerist expansion that was carried out in 1631-44 by Count Melchior Ferdinand de Gaschin. The scope of the Baroque and new-style transformations in the early 20th century is also discussed. The summary emphasizes the uniqueness of the layout which stands out from other Silesian residences in terms of size, programme and architecture.