scholarly journals „Pejzaż górski nie odpowiadał mi malarsko”, Zakopiański epizod graficzny Jana Skotnickiego

Artifex Novus ◽  
2021 ◽  
pp. 118-135
Author(s):  
Urszula Dragońska
Keyword(s):  
19Th Century ◽  
Financial Support ◽  
General Trend ◽  
Cultural Development ◽  
Society Of Friends ◽  
Graphic Arts ◽  
Japanese Art ◽  
Local Initiatives ◽  
Master Level ◽  
The Way

Abstrakt: W artykule omówiona została graficzna twórczość młodopolskiego malarza Jana Skotnickiego, przypadająca na lata 1909–1914. W 1908 r. artysta wraz z żoną Teodorą z Trenklerów wyjechali z Krakowa do Zakopanego. Pobyt artysty zbiegł się w czasie z intensywnym rozwojem kulturalnym kurortu. W miejscowe inicjatywy Skotnicki angażował się osobiście, przy finansowym wsparciu swego teścia, łódzkiego przemysłowca i kolekcjonera, Henryka Grohmana. Jednocześnie tutejszy krajobraz i popularna w owym czasie góralska sztuka ludowa, zupełnie artysty nie inspirowały, przez co niemal zarzucił malarstwo, a zainteresował się grafiką i kilimiarstwem. Polem nowych zainteresowań stała się otwarta staraniem Grohmana eksperymentalna pracownia wyposażona m.in. w prasy drukarskie. W kolejnych latach Skotnicki prezentował swoje ryciny na licznych wystawach, także tych towarzyszących organizowanym konkursom graficznym (1911, 1914), a po wyjeździe do Warszawy (1912) przyłączył się do Towarzystwa Przyjaciół Sztuk Graficznych. Skotnicki uprawiał techniki metalowe, bardzo szybko osiągając w nich wysoki poziom zauważony przez krytyków. Łączył akwafortę, akwatintę, suchą igłę i ruletkę, eksperymentował z drukiem barwnym i kolorował odbitki, mocno indywidualizował prace podczas ich odbijania, stosując tintę. Jego dorobek graficzny oszacowany zastał na ponad 50 kompozycji, przy czym w kolekcjach publicznych znajduje się ich obecnie przynajmniej 36. Są to pejzaże, widoki miasteczek i architektury, akty, studia postaci i zwierząt, w wielu przypadkach wzorowane na własnych szkicach i obrazach. Tematycznie i kompozycyjnie wykazują one wiele podobieństw do prac twórców młodopolskich, zarówno z grona profesorów (J. Stanisławski), jak i rówieśników podejmujących próby graficzne (W. Skoczylas). W sposobie budowania kompozycji, kadrowania, asymetrii i fragmentaryczności przedstawień widoczne są wpływy sztuki japońskiej, stanowiącej ważne źródło inspiracji za sprawą kolekcji i działalności Feliksa „Mangghi” Jasieńskiego. Znacząca była również kolekcja Grohmana, za pośrednictwem której Skotnicki mógł poznać twórczość XIX-wiecznych odnowicieli sztuk graficznych, jak i artystów kolejnych pokoleń (J.M. Whistler, F. Rops, E. Carrière), co znalazło odbicie w jego rycinach. Nieco zapomniana działalność Skotnickiego wpisuje się w ogólniejszą tendencję: zainteresowania młodopolskich artystów sztukami graficznymi i zaangażowania na rzecz ich popularyzacji na przełomie XIX i XX w. Jest przykładem poszukiwania własnego języka wypowiedzi w nowym medium, samodzielnie podejmowanego eksperymentu. Choć Skotnicki nie był pionierem sztuk graficznych na ziemiach polskich, to z pewnością stał się ich propagatorem. Summary: The article discusses the graphic output of Jan Skotnicki, a painter of Young Poland, which he created in the years 1909–1914. In 1908, the artist and his wife, Teodora née Trenkler, left Cracow for Zakopane. The artist’s stay there coincided with the intensive cultural development of the resort. Skotnicki was personally involved in local initiatives, with the financial support of his father-in-law, an industrialist and art collector from Łódź, Henryk Grohman. However, the local landscape and the highland folk art popular at that time did not suit him at all. As a result, he nearly gave up painting and became interested in prints and kilims. An experimental studio, opened thanks to Grohman’s efforts, became Skotnicki’s new field of interests. It was equipped with, among other things, printing presses. In the following years, Skotnicki presented his prints at numerous exhibitions, including those accompanying print competitions (in 1911 and 1914), and after moving to Warsaw (in 1912), he joined the Society of Friends of Graphic Arts. Skotnicki used metal techniques and quickly achieved a master level, which was noticed by critics. He combined etching, aquatints, drypoints and roulette, experimented with colour printing and coloured prints. He strongly individualised his works while creating prints by using tint. His graphic output was estimated at more than 50 compositions, with at least 36 currently in public collections. They include landscapes, views of towns and architecture, nudes, studies of figures and animals, which in many cases were modelled on his own sketches and paintings. In terms of themes and composition, they show many similarities to the works of Young Poland artists from the group of professors (J. Stanisławski) as well as peers undertaking graphic attempts (W. Skoczylas). The way of building the composition, framing, asymmetry and fragmentation of the representations reveal the influence of Japanese art, which was an important source of inspiration thanks to the collection and activity of Feliks "Manggha" Jasieński. Grohman’s collection was also significant, as Skotnicki could learn from it about the works of 19th-century restorers of graphic arts, as well as about the artists of subsequent generations (J. M. Whistler, F. Rops, E. Carrière), which was reflected in his prints. The somewhat forgotten activity of Skotnicki was part of a more general trend: the interest of Young Poland artists in graphic arts and their involvement in their popularisation at the turn of the 19th and 20th centuries. His output is an example of searching for one’s own language of expression in a new medium, and an experiment he performed independently. Although Skotnicki was not a pioneer of graphic arts in Poland, he certainly became their promoter.

Remembering the Past in Nineteenth-Century Scotland

2014 ◽  
Author(s):  
James J. Coleman
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
19Th Century ◽  
21St Century ◽  
Collective Memories ◽  
The Past ◽  
Prevailing View ◽  
The Way

At a time when the Union between Scotland and England is once again under the spotlight, Remembering the Past in Nineteenth-Century Scotland examines the way in which Scotland’s national heroes were once remembered as champions of both Scottish and British patriotism. Whereas 19th-century Scotland is popularly depicted as a mire of sentimental Jacobitism and kow-towing unionism, this book shows how Scotland’s national heroes were once the embodiment of a consistent, expressive and robust view of Scottish nationality. Whether celebrating the legacy of William Wallace and Robert Bruce, the reformer John Knox, the Covenanters, 19th-century Scots rooted their national heroes in a Presbyterian and unionist view of Scotland’s past. Examined through the prism of commemoration, this book uncovers collective memories of Scotland’s past entirely opposed to 21st-century assumptions of medieval proto-nationalism and Calvinist misery. Detailed studies of 19th-century commemoration of Scotland’s national heroes Uncovers an all but forgotten interpretation of these ‘great Scots’ Shines a new light on the mindset of nineteenth-century Scottish national identity as being comfortably Scottish and British Overturns the prevailing view of Victorian Scottishness as parochial, sentimental tartanry

Csiky Lajos hosszabb terjedelmű műveinek korabeli fogadtatása

2021 ◽  
Vol 66 (1) ◽  
pp. 231-250
Author(s):  
István-Attila Tárkányi
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Practical Theology ◽  
Short Paper ◽  
Early 20Th Century ◽  
Academic Activity ◽  
Orthodox Theology ◽  
The Way

"The Contemporary Reception of Lajos Csiky’s Voluminous Works. Lajos Csiky (1852–1925) was a late 19th and early 20th-century professor of practical theology at the Theological Academy of Debrecen. His works have not yet been researched accordingly. In the first part of this short paper, we would like to present the socio-theological context in which the renowned theologian spent his creative years, focusing especially on the debate of the day between liberal and orthodox theology. In the second part, we would like to reflect on the way his major theological works were received by his contemporaries during a span of more than four decades of academic activity. Keywords: Lajos Csiky, 19th-century theological debates in Hungary, practical theology, Ferenc Balogh, Imre Révész, Mór Ballagi "

scholarly journals Women and Orientalism: 19th century Representations of the Harem by European female travellers and Ottoman women

2016 ◽  
Vol 7 (1) ◽  
pp. 10
Author(s):  
Thisaranie Herath
Keyword(s):  
Nineteenth Century ◽  
19Th Century ◽  
Cross Cultural ◽  
The West ◽  
Cultural Exchanges ◽  
Private Spaces ◽  
The Way

The inaccessibility of the Ottoman harems to European males helped perpetuate the image of the harem as purely sexual in nature and contributed to imperialistic discourse that positioned the East as inferior to the West. It was only with the emergence of female travellers and artists that Europe was afforded a brief glimpse into the source of their fantasies; however, whether these accounts catered to or challenged the normative imperialist discourse of the day remains controversial. Emerging scholarship also highlights the way in which harem women themselves were able to control the depiction of their private spaces to suit their own needs, serving to highlight how nineteenth century depictions of the harem were a series of cross-cultural exchanges and negotiations between male Orientalists, female European travellers, and shrewd Ottoman women. 

Content and Consistency in the Endogenous Depressive Pattern

1966 ◽  
Vol 112 (486) ◽  
pp. 471-484 ◽  
Author(s):  
Saul H. Rosenthal ◽  
Gerald L. Klerman
Keyword(s):  
19Th Century ◽  
The Other ◽  
Psychotic Depression ◽  
Public Attention ◽  
Half Century ◽  
Manic Depressive ◽  
Wide Range ◽  
The 19Th Century ◽  
Mourning And Melancholia ◽  
The Way

As currently used, the diagnosis of depression includes a wide range of clinical phenomena. This has not always been the case. Near the end of the 19th century, when the term depression began to evolve the meanings that it has today it was applied primarily to psychotics. The formulations of Freud in Mourning and Melancholia (1917), and of Kraepelin in Manic Depressive Insanity (1921) were based upon observations of patients who were both depressed and psychotic. In their work the contrast was between psychotic depression (or “melancholia”) on one hand, and normal sadness on the other. In the succeeding half-century, however, as psychiatry has extended its boundaries, increasing attention has been focused on non-psychotic depressions, often called “neurotic” or “reactive.” As these “neurotic” or “reactive” depressions reached public attention, a debate began over the way in which the depressive population should be described and the extent to which it should be subdivided. Critical and often sarcastic written battles were fought between the separatists and the unifiers during the 1920's and 1930's. These debates have been informatively chronicled by Partridge (1949). We have found it useful to divide these theorists into unifiers, dualists, and pluralists.

scholarly journals ROME AND CARTHAGE BY A.V. TIMOFEEV: ON THE PROBLEM OF THE GENESIS OF “HISTORICAL FANTASY” AS A GENRE VARIETY OF RUSSIAN ROMANTIC DRAMA OF THE 19TH CENTURY

2021 ◽  
pp. 142-163
Author(s):  
ARKADII MAN'KOVSKII
Keyword(s):  
19Th Century ◽  
Religious Tradition ◽  
The Other ◽  
Literary Critic ◽  
Historical Events ◽  
Romantic Drama ◽  
The One ◽  
Historical Fantasy ◽  
The 19Th Century ◽  
The Way

The paper explores the genre of scarcely studied play by Russian minor writer Alexei V. Timofeev (1812-1883) Rome and Carthage (1837). Timofeev’s contemporary literary critic Osip Senkovskii treated like poet’s failure his use of romantic techniques in the play on ancient plot. Taking into account this opinion the paper analyzes the paratextual elements in the play, the way of describing characters, the division of the play into acts, the connection of the plot events with historical facts. The paper argues that the play approaches the kind of romantic drama, which the author suggests to call “historical fantasy” Its main feature is the coexisting in the plot mythology and religious tradition, on the one hand, and historical events, on the other, the heroes of historical chronicles and the heroes of folk legends, belief in miracles and rationalism. The goal of historical fantasy is to produce a generalized image of the time, to convey the spirit of the epoch while the dramatic action takes a secondary place. Samples of the genre were given in the works of Alexander A. Shakhovskoi, Alexander I. Gertsen, Apollon N. Maikov. Timofeev’s play was just in the way to this kind of drama.

scholarly journals Between prophecies and prognoses: Januário da Cunha Barbosa, slavery, and the future of the nation (1830-1836)

Tempo ◽  
2014 ◽  
Vol 20 (0) ◽  
Author(s):  
Danilo José Zioni Ferretti
Keyword(s):  
19Th Century ◽  
The Future ◽  
Literate Culture ◽  
The 19Th Century ◽  
The Way

This article aims at understanding the role played by the discussions about slavery and slave trafficking in the literate culture of Brazil in the 19th century, especially regarding the forms of figuring out the future of the nation. The way Canon Januário da Cunha Barbosa, an important politician and an illustrated intellectual, related projections of the future of the nation and treated the slavery issue (from 1830 to 1836) is analyzed. We discuss the use of projection modalities: prophecy and prognosis. Through them, Januário was involved in political discussions regarding the end of slave trafficking, and made political use of the Malê Revolt and Haitianism. The constitution of a horizon of antislavery expectation is indicated by the Canon, which is seen as one of the reasons to create the Brazilian Historic and Geographic Institute (1838).

scholarly journals From Pausanias to Baedeker and Trip Advisor: Textual proto-tourism and the engendering of tourism distribution channels

Turyzm ◽  
2021 ◽  
Vol 31 (1) ◽  
pp. 11-19
Author(s):  
Vicky Katsoni ◽  
Anna Fyta
Keyword(s):  
19Th Century ◽  
Digital Storytelling ◽  
Distribution Channels ◽  
Ancient Greek ◽  
Travel Information ◽  
The Core ◽  
Textual Strategies ◽  
The 19Th Century ◽  
Of Greece ◽  
The Way

The key aim of this article is to provide an interdisciplinary look at tourism and its diachronic textual threads bequeathed by the ‘proto-tourist’ texts of the Greek travel author Pausanias. Using the periegetic, travel texts from his voluminous Description of Greece (2nd century CE) as a springboard for our presentation, we intend to show how the textual strategies employed by Pausanias have been received and still remain at the core of contemporary series of travel guides first authored by Karl Baedeker (in the 19th century). After Baedeker, Pausanias’ textual travel tropes, as we will show, still inform the epistemology of modern-day tourism; the interaction of travel texts with travel information and distribution channels produces generic hybrids, and the ancient Greek travel authors have paved the way for the construction of networks, digital storytelling and global tourist platforms.

scholarly journals Collections of Japanese Art in Ukraine

2020 ◽  
Vol 3 (2(6)) ◽  
pp. 109-123
Author(s):  
Alla Ozhoha-Maslovska
Keyword(s):  
19Th Century ◽  
Political System ◽  
Art Museum ◽  
National Museum ◽  
Literature Information ◽  
Professional Literature ◽  
Art Collections ◽  
Japanese Art ◽  
Post War ◽  
The 19Th Century

The stages of the formation of Japanese art collections on the territory of Ukraine from the beginning of the 19th century to the present are highlighted on the basis of archival materials, periodicals and professional literature. Information about Japanese collections of the pre-war and post-war periods are systematized, while their composition and sources of formation are determined. The influence of the socio-political system on the development of the process of collecting Japanese art in Ukraine is also analysed. The sources of the formation of collections of Japanese art in the collections of The Bohdan and Varvara Khanenko National Museum of Arts in Kyiv, Odessa Museum of Western and Oriental Arts, the Chinese Palace of “Zolochiv Castle” Museum-Reserve, as well as Kharkiv Art Museum are explored. Finally, modern tendencies in the collection of Japanese art in Ukraine are determined.

Sign in / Sign up

Export Citation Format

Share Document