scholarly journals Mutual Influences. Kunstschutz and the Shaping of Polish Art History at the Time of the First World War

2017 ◽  
pp. 83-102
Author(s):  
Ewa Manikowska
Keyword(s):  
Art History ◽  
First World War ◽  
World War ◽  
The First World War ◽  
Polish Art ◽  
First World

Old Town, New Contexts

Uprooted ◽  
2011 ◽  
Author(s):  
Gregor Thum
Keyword(s):  
Historic Preservation ◽  
First World War ◽  
Historic Buildings ◽  
World War ◽  
The First World War ◽  
Art Historians ◽  
Polish Art ◽  
First World

This chapter details how Jan Zachwatowicz, Poland's General Conservator from 1945 to 1957, was the country's most powerful voice in the field of historic preservation. Not only did he personally direct the rebuilding of the devastated old towns of Warsaw, Gniezno, and Poznan, but in a widely regarded lecture delivered at the first postwar congress of Polish art historians in August 1945, he formulated the program for reconstructing Poland's historic buildings. Historic preservation was supposed to be limited to the conservation of buildings—in their existing state. However, when an independent Poland was reestablished after the First World War, exceptions were made to the principle of nonintervention, especially for historic buildings regarded as particularly significant for the Polish national cult.

scholarly journals Jezus za kaemem. Glossa z pogranicza literatury, teologii i historii sztuki

2013 ◽  
Vol 14 (1) ◽  
pp. 41
Author(s):  
Jan Zieliński
Keyword(s):  
Art History ◽  
First World War ◽  
Karl Barth ◽  
World War ◽  
Present Issue ◽  
The First World War ◽  
The Future ◽  
Billy Graham ◽  
George Grosz ◽  
First World

Machine Gun Jesus. A gloss between literature, theology and art history In order to explain a mysterious sentence in an article by Jerzy Stempowski on Józef Wittlin’s novel (published in the present issue of “CL”) about a sermon on Jesus at a German machine gun, the author makes a survey of several sermons delivered and published in protestant Switzerland during the First World War (including one by the future famous theologian Karl Barth). Another possible source for this phrase by Stempowski is an article published in 1930 in “Berliner Tageblatt” during a lawsuit for blasphemy against the painter George Grosz, the author of a drawing representing Jesus on the Cross with a gas mask. The gloss ends with some remarks on the later use of the terms “Machine Gun Jesus” or “God’s Machine Gun” (Johannes Leppich, Billy Graham, Ryszard Kapuściński, Sam Childers).

“A work of art is an object that necessitates contemplation”. Latency of visual studies within the Vienna School of Art History?

2021 ◽  
pp. 9-29
Author(s):  
Tomáš Murár
Keyword(s):  
Art History ◽  
Research Method ◽  
Visual Studies ◽  
First World War ◽  
World War ◽  
The First World War ◽  
Pieter Bruegel ◽  
Pieter Bruegel The Elder ◽  
Relationship Of ◽  
First World

This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. The article suggests the possible influence of Georg Simmel’s philosophy on Dvořák in this time, evident mainly in Dvořák’s interpretation of Pieter Bruegel the Elder’s art, written by Dvořák in 1920 and published posthumously in 1921. This another view on the Vienna School of Art History is then researched in writings on Pieter Bruegel the Elder by Dvořák’s students Hans Sedlmayr and Charles de Tolnay when Tolnay extended Dvořák’s thinking and Sedlmayr challenged its premises – both Tolnay and Sedlmayr thus in the same time interpreted Bruegel’s art differently, even though they were both Dvořák’s students. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today’s approaches to art (history), mainly with the so-called visual studies.

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