scholarly journals Facing the Work of Art. Memories of My Student Years

2019 ◽  
Author(s):  
Piotr Skubiszewski
Keyword(s):  
World War Ii ◽  
Middle Ages ◽  
Literary History ◽  
Art History ◽  
Medieval Architecture ◽  
Early 19Th Century ◽  
French Experience ◽  
The Times ◽  
French Tradition ◽  
The University

The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957-1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar.

scholarly journals Przed dziełem sztuki. Wspomnienia ze studiów

2019 ◽  
pp. 307-321
Author(s):  
Piotr Skubiszewski
Keyword(s):  
World War Ii ◽  
Middle Ages ◽  
Literary History ◽  
Art History ◽  
Medieval Architecture ◽  
Early 19Th Century ◽  
French Experience ◽  
The Times ◽  
French Tradition ◽  
The University

The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957–1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar. 

scholarly journals "Coming Full Circle": Reviving Private Press Printing at the University of Otago

2021 ◽  
Author(s):  
◽  
Paula Jane Whitelock
Keyword(s):  
Literary History ◽  
Art History ◽  
Book History ◽  
Specific Work ◽  
Historical Case Study ◽  
Historical Case ◽  
Study Approach ◽  
Limited Edition ◽  
The University

<p>The Printer in Residence (PiR) Programme at the University of Otago has been running since 2003, and in that time, nine private press publications have been produced. Each year the programme commissions a skilled handcraft printer to produce a specific work (usually related to the University of Otago's art and literary history) in collaboration with local artists and print makers. Although there is valuable research being conducted in regards to New Zealand's print culture, this was aspect of New Zealand's private press history yet to be investigated. This study utilised an historical case study approach with an objective to document the recent history and development of the Printer in Residence(PiR) Programme through an investigation of its archives; interviews with eight of the programme's participants, and written accounts by two others. The study aimed to gain a holistic perspective of the PiR Programme by interviewing those involved in its administration and general operations, past Printers in Residence, and artists and print makers. Case studies of the 2005, 2006 and 2007 PiR Programmes highlight the collaborative process of producing a limited edition hand printed book, and unique characteristics of each PiR programme. The major themes identified from the data gathered were: the strong collaborative aspect of the PiR Programme; the importance placed on promoting the programme as a teaching opportunity to the English, Art History and Design departments; the hand crafted qualities of the books produced in comparison to commercial publishing, and the perceived value of the PiR programme for those involved in this study. This study identifies the PiR Programme as a small but important aspect of New Zealand's book history which is worthy of further research.</p>

scholarly journals "Coming Full Circle": Reviving Private Press Printing at the University of Otago

2021 ◽  
Author(s):  
◽  
Paula Jane Whitelock
Keyword(s):  
Literary History ◽  
Art History ◽  
Book History ◽  
Specific Work ◽  
Historical Case Study ◽  
Historical Case ◽  
Study Approach ◽  
Limited Edition ◽  
The University

<p>The Printer in Residence (PiR) Programme at the University of Otago has been running since 2003, and in that time, nine private press publications have been produced. Each year the programme commissions a skilled handcraft printer to produce a specific work (usually related to the University of Otago's art and literary history) in collaboration with local artists and print makers. Although there is valuable research being conducted in regards to New Zealand's print culture, this was aspect of New Zealand's private press history yet to be investigated. This study utilised an historical case study approach with an objective to document the recent history and development of the Printer in Residence(PiR) Programme through an investigation of its archives; interviews with eight of the programme's participants, and written accounts by two others. The study aimed to gain a holistic perspective of the PiR Programme by interviewing those involved in its administration and general operations, past Printers in Residence, and artists and print makers. Case studies of the 2005, 2006 and 2007 PiR Programmes highlight the collaborative process of producing a limited edition hand printed book, and unique characteristics of each PiR programme. The major themes identified from the data gathered were: the strong collaborative aspect of the PiR Programme; the importance placed on promoting the programme as a teaching opportunity to the English, Art History and Design departments; the hand crafted qualities of the books produced in comparison to commercial publishing, and the perceived value of the PiR programme for those involved in this study. This study identifies the PiR Programme as a small but important aspect of New Zealand's book history which is worthy of further research.</p>

scholarly journals L’Imagination au pouvoir: Art History in the Times of Crisis, 1960s – 1970s

2019 ◽  
pp. 243-256
Author(s):  
Andrzej Turowski
Keyword(s):  
Art History ◽  
Cultural Theory ◽  
Academic Discipline ◽  
Theoretical Background ◽  
New Developments ◽  
Critical Thought ◽  
Academic Knowledge ◽  
Art Historians ◽  
The Times ◽  
The University

The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studied in terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.

scholarly journals MARIAN MINICH (1898‒1965)

Muzealnictwo ◽  
2018 ◽  
Vol 59 ◽  
pp. 163-174
Author(s):  
Paulina Kurc-Maj
Keyword(s):  
World War Ii ◽  
Art History ◽  
Art Museum ◽  
Professional Experience ◽  
World War ◽  
Avant Garde ◽  
Before And After ◽  
History Of ◽  
Post War ◽  
The University

Marian Minich was born on the 21st December 1898 in Baligród near Lesko, died on the 6th of July 1965 in Łódź. For thirty years, excluding the World War II period, he was a director of the Art Museum in Łódź. In 1929, he graduated from the John Casimir University in Lviv, history of art faculty. He worked there from 1928, first as an assistant of Professor Władysław Kozicki, then of Professor Władysław Podlacha. In 1932, he defended his doctoral thesis on the oeuvre of Andrzej Grabowski (published in 1957). He was granted a university award while still a student for his study The Concept of Art by Wölfflin, whose methodology influenced future exhibition concepts of Marian Minich. From the late 1920s, he was writing as an art critic for Lviv newspapers. In 1935, he assumed the position of the director of the Art Museum in Łódź (at the time: the J. and K. Bartoszewicz Museum of History and Art). Among his major achievements was not only a remarkable expansion of museum collection, but also a transformation of the museum into an institution devoted exclusively to art, with a significant representation of contemporary art. In the uneasy post-war years, he managed to sustain this direction, both before and after the tightening of cultural policies in the socialist realism era. In 1948, together with the first post-war permanent exhibition, the Art Museum in Łódź opened thanks to him the “Neoplastic Room” by Władysław Strzemiński. Marian Minich was also a persistent defender of the avant-garde, and strived to make it an integral part of conceptual programme for any art museum. From the years 1946/1947 to 1951/1952, he taught art history at the University of Łódź. His professional experience as a museum director has been described by him in a book Szalona galeria (published in 1963); his article O nową organizację muzeów sztuki (1966) he devoted to museum issues.

Academia's Golden Age

1992 ◽  
Author(s):  
Richard M. Freeland
Keyword(s):  
World War Ii ◽  
General Education ◽  
Graduate Education ◽  
World War ◽  
Boston College ◽  
Boston University ◽  
Close Study ◽  
University Of Massachusetts ◽  
National Trends ◽  
The University

This book examines the evolution of American universities during the years following World War II. Emphasizing the importance of change at the campus level, the book combines a general consideration of national trends with a close study of eight diverse universities in Massachusetts. The eight are Harvard, M.I.T., Tufts, Brandeis, Boston University, Boston College, Northeastern and the University of Massachusetts. Broad analytic chapters examine major developments like expansion, the rise of graduate education and research, the professionalization of the faculty, and the decline of general education. These chapters also review criticisms of academia that arose in the late 1960s and the fate of various reform proposals during the 1970s. Additional chapters focus on the eight campuses to illustrate the forces that drove different kinds of institutions--research universities, college-centered universities, urban private universities and public universities--in responding to the circumstances of the postwar years.

scholarly journals Professor George Archibald Grant Mitchell (1906–1993): his work with penicillin during World War II

2021 ◽  
pp. 096777202110121
Author(s):  
Peter D Mohr ◽  
Stephanie Seville
Keyword(s):  
Nervous System ◽  
World War Ii ◽  
Autonomic Nervous System ◽  
Middle East ◽  
World War ◽  
Army Medical ◽  
Autonomic Nervous ◽  
Penicillin Therapy ◽  
The University ◽  
University Of Manchester

George Archibald Grant Mitchell, OBE, TD, MB, ChB, ChM, MSc, DSc, FRCS (1906–1993) was a professor of anatomy at the University of Manchester from 1946 to 1973. He is mainly remembered for his research in neuroanatomy, especially of the autonomic nervous system. He studied medicine at the Aberdeen University, and after qualifying in 1929 he held posts in surgery and anatomy and worked as a surgeon in the Highlands. In 1939, he joined the Royal Army Medical Corps. He was based in Egypt and the Middle East, where he carried out trials of sulphonamides and penicillin on wounded soldiers; in 1943, he returned to England as Adviser in Penicillin Therapy for 21 Army Group, preparing for the invasion of Europe.

Sign in / Sign up

Export Citation Format

Share Document