http://hdl.handle.net/11089/13611 2026-04-08T21:56:28Z http://hdl.handle.net/11089/13641 Ikonografia śmierci w polskim malarstwie fantazji i baśni w wieku XIX Jedlińska, Eleonora The trend of fantasy art originating from the interest of the ethnographical and historical researches as well as from the studies of religious and archaeology came into existence in Poland in the 1840s and 1850s. There were few Polish artists who dealt with the fantasy art; Ignacy Gierdzicjewski, Artur Grottger and Witold Pruszkowski are among the most important ones. The works of the fantasy trend discussed problems of the life and the death, the here after life, demons, fairy-tales, and folktales. In the fantasy paintings some typical for the romantic iconography cemetery motives such as skulls, crossbones, sepulchral crosses and ruins of castles are present. Gierdzicjewski was painting gloomy, demonical, hallucinatory visions of the Mazovian’s plains, haunted by the suffering souls. Pruszkowski’s fantasy paintings were full of realism, firmly connected with the reality, in such a manner that the nightmarish scenes seemed to be eternally included into human’s existence. Grottger was linking up fantasy events and the ones connected with the fights for national independence, wars, and misery of life in the subjugated motherland. The fantasy art used iconographie motives coming from far religious traditions, pagan, popular beliefs, fairy-tales and myths. Wydanie publikacji dofinansowane przez Komitet Badań Naukowych 2002-01-01T00:00:00Z http://hdl.handle.net/11089/13640 Grupa Pro Arte - prezentacja wstępna Pawłowska, Aneta Pro Arte, active in the years 1922-1932, associated many prominent artists, among others: Stanisław Bagieński, Tadeusz Cieślewski (senior), Zdzisław Jasiński, Jan Kotowski, Bronisław Kopczyński, Stanisław Zawadzki, Piotr Krasnodębski, Apoloniusz Kędzierski, Wojciech Kossak, Stanisław Straszkiewicz, Teodor Ziomek, Józef Rapacki, Czesław Tański, Henryk Piątkowski, Władysław Wankie, Henryk Weyssenhoff, Stefan Popowski. The artistic programme of the group is rather difficult to grasp. The goals expressed in the group’s introductory manifesto are limited to a few cliches, which included working for the sake of art, maintaining the continuity of artistic tradition and social respect. The group’s most unfiuential personalities were Popowski, Piątkowski and Wankie. These artists published numerous works in Warsaw press (Popowski and Wankie), and made names for themselves by writing monographes of such artists as Władysław Podkowiński, Władysław Czachórski, Elwiro Andriolli (Piątkowski). Particularly valuable for art historians was the work of Wankie, who was the author of a report on the life of a Polish artistic colony on the river Izara. In that report, hę presented the trends and tendencies dominating in Munich towards the end of the 19lh century. Hę was also the author of a comparative study of two masters of Polish painting, Matejko and Chełmoński. The main motifs recurring in the works of Pro Arte group’s artists can be divided into several categories. The most popular of them was landscape painting, although portraits, urban landscapes, still lives, fork scenes, battle scenes and allegories are also numerous. Pro Arte group is an exceptionally interesting, although little-known, example of coexistence on the art stage of the Second Polish Republic of certain forms of art, usually deemed backward when compared with the so-called avant-garde trends. It must be emphasised, however, that the extents of audience’s interest in both these visions of the world were exactly opposite to the number of studies that analyse them today. Wydanie publikacji dofinansowane przez Komitet Badań Naukowych 2002-01-01T00:00:00Z http://hdl.handle.net/11089/13637 Szlacheckie kaplice grobowe ziemi łęczycko-sieradzkiej od XV do I połowy XVII wieku Gryglewski, Piotr There is still no satisfactory elaboration of the history of Central Poland architecture from last five centuries. This concerns the problem of grave chapels that were founded at the region of Łęczyca and Sieradz. Up till today at that area exist ca. 30 brick or stone chapels that are assumed to function already before year 1650. Original texts inform us about 15 more chapels that exist no longer. Moreover there were some wooden chapels also destroyed in the past. In between most interesting examples there arę gothic chapels in Będków (after 1462) and Brzeziny (ca. 1530). From buildings dated back to 16. century chapel and church in Chełm from ca. 1573 is worth mentioning. In between later objects is very interesting set of chapels founded by the Lasocki Family in Brzeziny from ca. 1600 year, completed by Rosary chapel, that served as presbytery in oratory created there. Another dome chapels are in Poddębice (ca. 1610), in Buczek (twin chapels) and in Chojne (from before 1621) were it is situated over sacrysty. Significant for domes of chapels at this area is use of triangular sails, instead of classic pendentives. In the time mentioned some chapels of townsman’s foundation were also constructed, like those in Widawa (from year 1617) and Brzeziny (from 1619). Described objects served not only for sepulchral needs but had also important representative functions, being memorials of founders’ splendor. For example in chapel set from Brzeziny heraldic program and exposition of outside decoration was an important factor stressing the position of the family in the city, which at that time was already weakened. The foundation in Poddębice was connected with converted dissenter, who once raised against the king. Maybe references to architectonic forms connected with catholic and king’s foundations were introduced to underline change in the attitude of founder. Wydanie publikacji dofinansowane przez Komitet Badań Naukowych 2002-01-01T00:00:00Z http://hdl.handle.net/11089/13636 Kościół pod wezwaniem św. Rafała w Aleksandrowie Łódzkim w latach 1817-1939. Zarys monografii Wróbel, Robert The Roman catholic church of St. Raphael in Aleksandrów Łódzki was built in the years 1817-1818 under inspiration of Rafal Bratoszewski, who was then the owner of the settlement. Some selected solutions in the inside (cut comers of nave, stair case behind high altar, oratory around chancel) and composition of the facade (rounded niche at the axis flanked by pairs of Tuscany pillars) mąkę it possible to assign this little church to a well known Warsaw architect Hilary Szpilowski. This building functioned in its primer shape for almost 100 years until the year 1914 when there were some attempts of enlarging started. Stefan Szyller designed new chancel and two vast chapels. Unfortunately those plans were stopped by the outbreak of the First World War. Finally in the years 1923-1926 this idea become realised: following the project of Józef Kaban two aisles were joined to the main corpse and new chancel together with treasure and sacristy were built. Further changes in the corpse of the indicated by parson Witold Nadolski in the years 1933-1934 consisted of redecoration of the facade: two newly built lowers and volute endings over the side naves make it look like pseudo-baroque church. At the same time some important changes were introduced inside: reconstruction of the high altar, adding two new side altars and pictorial decoration of the walls of main nave. New galleries over side naves were also planned but the beginning of Second World War put an end to the works. Although some famous and well-known architects are connected with the church it bears no signs of original, superb architecture. The building belongs to the numerous group of churches that are constantly changed with the time-due to changing needs and preferences. Wydanie publikacji dofinansowane przez Komitet Badań Naukowych 2002-01-01T00:00:00Z