1.
Garwolin
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There are about 16,000 inhabitants in the town. Traces of settlement on terrains of present days boundaries of Garwolin are more than 2000 years old. It is believed that Garwolin received its city charter in 1423, in time of the Deluge casualties exceeded 90%. During World War II and the Nazi occupation of Poland, about 70% of the city was destroyed. For his war crimes, Freudenthal was sentenced to death by the Polish underground, and the sentence was carried out by the Home Army on 5 July 1944, as part of Operacja Główki. At the end of July 1944 the Red Armys 2nd Guards Tank Army, under the command of Alexei Radzievsky, routed the German 73rd Infantry Division at Garwolin, capturing its commander, after the war Garwolin was restored and enlarged. The Neo-baroque church, dating from the turn of the 19th and 20th centuries, is a notable building, the Józef Piłsudski grammar school, two vocational schools, Academy of Management in Łódź, branch in Garwolin. Centre of industry and services, machine, means of transport, nutritive industries, clothing, leather, construction materials, furniture, Principal road #17, direction Warsaw-Garwolin-Lublin-Hrebenne, Principal road #76, direction Łuków-Garwolin-Wilga. In distance of 5 km from town railway route Warszawa-Lublin proceeds, Wilga Cinema 3D, Centre of Sports and Culture, Garwolanka Swimming pool, Wilga Garwolin Sports Club. County of Garwolin Citys Hall Official Page Garwolin Countys Community Association Community of Garwolin Jewish Community in Garwolin on Virtual Shtetl
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Siedlce Governorate
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Siedlce Governorate was an administrative unit of the Congress Poland. It was created in 1867 from the division of the Lublin Governorate and it was in fact a recreation of the older Podlasie Governorate, but now renamed to Siedlce Governorate. Siedlce Governorate was abolished in 1912 and its territory was divided between Lublin Governorate, Łomża Governorate and the newly created Kholm Governorate, by the Imperial census of 1897. In bold are languages spoken by more people than the state language, geographical Dictionary of the Kingdom of Poland
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Russian Empire
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The Russian Empire was a state that existed from 1721 until it was overthrown by the short-lived February Revolution in 1917. One of the largest empires in history, stretching over three continents, the Russian Empire was surpassed in landmass only by the British and Mongol empires. The rise of the Russian Empire happened in association with the decline of neighboring powers, the Swedish Empire, the Polish–Lithuanian Commonwealth, Persia. It played a role in 1812–14 in defeating Napoleons ambitions to control Europe. The House of Romanov ruled the Russian Empire from 1721 until 1762, and its German-descended cadet branch, with 125.6 million subjects registered by the 1897 census, it had the third-largest population in the world at the time, after Qing China and India. Like all empires, it included a large disparity in terms of economics, ethnicity, there were numerous dissident elements, who launched numerous rebellions and assassination attempts, they were closely watched by the secret police, with thousands exiled to Siberia. Economically, the empire had an agricultural base, with low productivity on large estates worked by serfs. The economy slowly industrialized with the help of foreign investments in railways, the land was ruled by a nobility from the 10th through the 17th centuries, and subsequently by an emperor. Tsar Ivan III laid the groundwork for the empire that later emerged and he tripled the territory of his state, ended the dominance of the Golden Horde, renovated the Moscow Kremlin, and laid the foundations of the Russian state. Tsar Peter the Great fought numerous wars and expanded an already huge empire into a major European power, Catherine the Great presided over a golden age. She expanded the state by conquest, colonization and diplomacy, continuing Peter the Greats policy of modernisation along West European lines, Tsar Alexander II promoted numerous reforms, most dramatically the emancipation of all 23 million serfs in 1861. His policy in Eastern Europe involved protecting the Orthodox Christians under the rule of the Ottoman Empire and that connection by 1914 led to Russias entry into the First World War on the side of France, Britain, and Serbia, against the German, Austrian and Ottoman empires. The Russian Empire functioned as a monarchy until the Revolution of 1905. The empire collapsed during the February Revolution of 1917, largely as a result of failures in its participation in the First World War. Perhaps the latter was done to make Europe recognize Russia as more of a European country, Poland was divided in the 1790-1815 era, with much of the land and population going to Russia. Most of the 19th century growth came from adding territory in Asia, Peter I the Great introduced autocracy in Russia and played a major role in introducing his country to the European state system. However, this vast land had a population of 14 million, grain yields trailed behind those of agriculture in the West, compelling nearly the entire population to farm. Only a small percentage lived in towns, the class of kholops, close to the one of slavery, remained a major institution in Russia until 1723, when Peter I converted household kholops into house serfs, thus including them in poll taxation
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Warsaw
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Warsaw is the capital and largest city of Poland. It stands on the Vistula River in east-central Poland, roughly 260 kilometres from the Baltic Sea and 300 kilometres from the Carpathian Mountains. Its population is estimated at 1.750 million residents within a metropolitan area of 3.101 million residents. The city limits cover 516.9 square kilometres, while the area covers 6,100.43 square kilometres. Once described as Paris of the East, Warsaw was believed to be one of the most beautiful cities in the world until World War II. On 9 November 1939, the city was awarded Polands highest military decoration for heroism, Warsaw is one of Europe’s most dynamic metropolitan cities. In 2012 the Economist Intelligence Unit ranked Warsaw as the 32nd most liveable city in the world, in 2017 the city came 4th in the “Business-friendly” category and 8th in the “Human capital and life style”. It was also ranked as one of the most liveable cities in Central, Warsaw is considered an Alpha– global city, a major international tourist destination and a significant cultural, political and economic hub. The city is a significant centre of research and development, BPO, ITO, the Warsaw Stock Exchange is the largest and most important in Central and Eastern Europe. Frontex, the European Union agency for external security, has its headquarters in Warsaw. Together with Frankfurt, London and Paris, Warsaw is also one of the cities with the highest number of skyscrapers in the European Union, the city is the seat of the Polish Academy of Sciences, Warsaw National Philharmonic Orchestra and the University of Warsaw. The historic city-centre of Warsaw with its picturesque Old Town in 1980 was listed as a UNESCO World Heritage Site, buildings represent examples of nearly every European architectural style and historical period. Warsaw provides many examples of architecture from the gothic, renaissance, baroque, neoclassical and modern periods, furthermore, the city is positioning itself as Europes chic cultural capital with thriving art and club scenes and renowned restaurants. Folk etymology attributes the city name to a fisherman, Wars, according to legend, Sawa was a mermaid living in the Vistula River with whom Wars fell in love. In actuality, Warsz was a 12th/13th-century nobleman who owned a village located at the site of Mariensztat neighbourhood. See also the Vršovci family which had escaped to Poland, the official city name in full is miasto stołeczne Warszawa. A native or resident of Warsaw is known as a Varsovian – in Polish warszawiak, warszawianin, warszawianka, warszawiacy, other names for Warsaw include Varsovia and Varsóvia, Varsovie, Varsavia, Warschau, װאַרשע /Varshe, Варшава /Varšava /Varshava, Varšuva, Varsó. The first fortified settlements on the site of todays Warsaw were located in Bródno, after Jazdów was raided by nearby clans and dukes, a new similar settlement was established on the site of a small fishing village called Warszowa
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Poland
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Poland, officially the Republic of Poland, is a country in Central Europe, situated between the Baltic Sea in the north and two mountain ranges in the south. Bordered by Germany to the west, the Czech Republic and Slovakia to the south, Ukraine and Belarus to the east, the total area of Poland is 312,679 square kilometres, making it the 69th largest country in the world and the 9th largest in Europe. With a population of over 38.5 million people, Poland is the 34th most populous country in the world, the 8th most populous country in Europe, Poland is a unitary state divided into 16 administrative subdivisions, and its capital and largest city is Warsaw. Other metropolises include Kraków, Wrocław, Poznań, Gdańsk and Szczecin, the establishment of a Polish state can be traced back to 966, when Mieszko I, ruler of a territory roughly coextensive with that of present-day Poland, converted to Christianity. The Kingdom of Poland was founded in 1025, and in 1569 it cemented a political association with the Grand Duchy of Lithuania by signing the Union of Lublin. This union formed the Polish–Lithuanian Commonwealth, one of the largest and most populous countries of 16th and 17th century Europe, Poland regained its independence in 1918 at the end of World War I, reconstituting much of its historical territory as the Second Polish Republic. In September 1939, World War II started with the invasion of Poland by Nazi Germany, followed thereafter by invasion by the Soviet Union. More than six million Polish citizens died in the war, after the war, Polands borders were shifted westwards under the terms of the Potsdam Conference. With the backing of the Soviet Union, a communist puppet government was formed, and after a referendum in 1946. During the Revolutions of 1989 Polands Communist government was overthrown and Poland adopted a new constitution establishing itself as a democracy, informally called the Third Polish Republic. Since the early 1990s, when the transition to a primarily market-based economy began, Poland has achieved a high ranking on the Human Development Index. Poland is a country, which was categorised by the World Bank as having a high-income economy. Furthermore, it is visited by approximately 16 million tourists every year, Poland is the eighth largest economy in the European Union and was the 6th fastest growing economy on the continent between 2010 and 2015. According to the Global Peace Index for 2014, Poland is ranked 19th in the list of the safest countries in the world to live in. The origin of the name Poland derives from a West Slavic tribe of Polans that inhabited the Warta River basin of the historic Greater Poland region in the 8th century, the origin of the name Polanie itself derives from the western Slavic word pole. In some foreign languages such as Hungarian, Lithuanian, Persian and Turkish the exonym for Poland is Lechites, historians have postulated that throughout Late Antiquity, many distinct ethnic groups populated the regions of what is now Poland. The most famous archaeological find from the prehistory and protohistory of Poland is the Biskupin fortified settlement, dating from the Lusatian culture of the early Iron Age, the Slavic groups who would form Poland migrated to these areas in the second half of the 5th century AD. With the Baptism of Poland the Polish rulers accepted Christianity and the authority of the Roman Church
6.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
7.
Realism (arts)
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Realism in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. Realism has been prevalent in the arts at many periods, and is in part a matter of technique and training. In the visual arts, illusionistic realism is the depiction of lifeforms, perspective. Realist works of art may emphasize the mundane, ugly or sordid, such as works of realism, regionalism. There have been various movements in the arts, such as the opera style of verismo, literary realism, theatrical realism. The realism art movement in painting began in France in the 1850s, the realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century. Realism is the precise, detailed and accurate representation in art of the appearance of scenes. Realism in this sense is also called naturalism, mimesis or illusionism, realistic art was created in many periods, and it is in large part a matter of technique and training, and the avoidance of stylization. It becomes especially marked in European painting in the Early Netherlandish painting of Jan van Eyck, however such realism is often used to depict, for example, angels with wings, which were not things the artists had ever seen in real life. It is the choice and treatment of matter that defines Realism as a movement in painting. The development of increasingly accurate representation of the appearances of things has a long history in art. It includes elements such as the depiction of the anatomy of humans and animals, of perspective and effects of distance. Ancient Greek art is recognised as having made great progress in the representation of anatomy. Pliny the Elders famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend, roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects. The art of Late Antiquity famously rejected illusionism for expressive force, scientific methods of representing perspective were developed in Italy and gradually spread across Europe, and accuracy in anatomy rediscovered under the influence of classical art. As in classical times, idealism remained the norm, intriguingly, having led the development of illusionic painting, still life was to be equally significant in its abandonment in Cubism. The depiction of ordinary, everyday subjects in art also has a history, though it was often squeezed into the edges of compositions. However these objects are at least largely there because they carry layers of complex significance, pieter Bruegel the Elder pioneered large panoramic scenes of peasant life
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Impressionism
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Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
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Young Poland
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Young Poland was a modernist period in Polish visual arts, literature and music, covering roughly the years between 1890 and 1918. It was a result of strong opposition to the earlier ideas of Positivism which followed the suppression of the 1863 January Uprising against the occupying army of Imperial Russia. Młoda Polska promoted trends of decadence, neo-romanticism, symbolism, impressionism, Polish literature of the period was based on two main concepts. The earlier was a typically modernist disillusionment with the bourgeoisie, its life style, artists following this concept also believed in decadence, an end of all culture, conflict between humans and their civilization, and the concept of art as the highest value. Authors who followed this concept included Kazimierz Przerwa-Tetmajer, Stanisław Przybyszewski, Wacław Rolicz-Lieder, a later concept was a continuation of romanticism, and as such is often called neo-romanticism. Modest Musorgski, Alexander Borodin and Nikolai Rimsky-Korsakov, in the period of Young Poland there were no overwhelming trends in Polish art. The painters and sculptors tried to continue the traditions with new ways of expression popularised abroad. The most influential trend was art nouveau, although Polish artists started to seek some form of a national style. Both sculpture and painting were also influenced by all forms of symbolism. Prominent Young Poland painters and sculptors include, History of Poland Dobrowolski Tadeusz, Sztuka Młodej Polski, słownik artystów polskich i obcych w Polsce działających. Puciata-Pawłowska Joanna, Konstanty Laszczka, Siedlce 1980
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Polish culture in the Interbellum
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Polish culture in the interwar period witnessed the rebirth of Polish sovereignty. The nationhood along with its heritage was no longer suppressed by the three foreign partitioners. The territories of the Prussian Partition were most developed, although Poles were also subject to the most ruthless Germanization policies of Kulturkampf, meanwhile, the eastern and southern territories – parts of the former Russian Partition and Austrian Partition – were among the least developed regions in Europe. It was a society whose ethno-cultural makeup was shaped over a period of centuries. In 1921 according to the national census, the Catholic Poles constituted 69. 2% of the population, the Ukrainians 14. 3%, the Jews 7. 8%, the Belarusians 3. 9%. The minorities amounted to 30. 8% of the total, the rise of new intelligentsia resulted in the development of a record number of political parties, lobbies and societies. In a dozen or so years the newspaper readership doubled, in 1919, new universities opened in Poznań, Wilno, and Lublin. Universities in Kraków and Lwów were polonized already five years earlier, the Elementary School Teachers Union was formed in 1919. In the first ten years of Polands redevelopment, the number of schools increased by almost 10,000 thanks to the official decree on public education. The annual Eastern Trade Fair or the Targi Wschodnie by 1928 could boast some 1,600 exhibitors,400 of them being foreign firms, the fair attracted 150,000 visitors that year, with tram connections to the city, customs office and telephone exchange on site. Also in 1928, a trade fair was launched in Wilno to drum up business in northeastern Poland. The Northern Trade Fair was visited by the staggering 180,000 guests in the first year and it was the biggest annual event locally showcasting textiles, furniture, farm animals, furs, tourist equipment, production machinery and many other commercial products. New theatres opened in Bydgoszcz, Katowice and Toruń, in Warsaw, the new Teatr Polski performed since 1913 already, and in 1924 the Teatr Narodowy opened, followed by the Teatr Bogusławskiego and the Ateneum. There were also several vibrant theatre companies in Kraków and Lwów, by 1936 there were 26 permanent dramatic theatres in the country. The Kraków Philharmonic Concert Hall inspired by the Brussels Maison du Peuple, was completed in 1931 thanks to the sponsorship by Prince. Music conservatories were established in Warszaw, Poznań, Katowice, Kraków, Łódź, in 1934 the main branch of Polands National Museum was erected in Kraków with holdings reaching 300,000 items. The period saw the introduction of the system of filmmaking with Sfinks of Warsaw, founded by Aleksander Hertz. The studio discovered the then 17-year-old Pola Negri and made eight films with her
11.
Jan Matejko Academy of Fine Arts
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The Jan Matejko Academy of Fine Arts, or the Kraków Academy of Fine Arts, is a public institution of higher learning located in downtown Kraków, Poland. It is the oldest Polish fine-arts academy, established in 1818, ASP is a state-run university that offers 5- and 6-year Masters degree programs. As of 2007, the Academys faculty comprised 94 professors and assistant professors as well as 147 Ph. D. s, the Academy of Fine Arts was originally a subdivision of the Jagiellonian Universitys Department of Literature and was initially called School of Drawing and Painting. ASP received the status of an independent institution of learning in 1873 as the School of Fine Arts. The main building based on a design by architect Maciej Moraczewski was erected in todays Matejko Square in 1879. In 1893–95 its principal was a broadly educated Władysław Łuszczkiewicz who also served as conservator of monuments in the city. Following the death of Jan Matejko in 1893, the next ASP President elected in 1895 was Julian Fałat, who remained at his post until 1909. On the 100th anniversary of its founding, in 1979, the Academy was named for Jan Matejko, its founder and first president, in 2008 the Academy joined Icograda and became that organizations first educational member in Poland
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Society of Polish Artists "Sztuka"
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The Society of Polish Artists Sztuka founded in 1897 in Kraków, was a gathering of prominent Polish visual artists from around the turn of the century living under the foreign partitions of Poland. Its main goal was to reaffirm the importance and unique character of Polish contemporary art at a time, the immediate inspiration for the founding of the new society came from the ground-breaking art exhibit inaugurated on May 27,1897 at Sukiennice in Main Square, Kraków. It was held by Polish modernist painters, and called A Separate Exhibition of Painting, the show was visited by approximately 6,000 guests, and proclaimed a success. The first meeting of Sztuka Society took place on October 27,1897, sztukas artistic philosophy was by no means homogeneous – encompassing all facets of the Young Poland movement including neo-romanticism, symbolism, impressionism and art nouveau. Sculpture was represented in Sztuka by Xawery Dunikowski, Bolesław Biegas, Konstanty Laszczka, the membership of the society was tightly controlled in order to protect its identity. It was especially important considering that the Polish artists were forced to exhibit abroad under the banner of Polands own occupiers, as a result, at the 1900 World Exposision Poles from the Russian sector of occupied Poland were allowed to exhibit only with the Russians from Russia. Sztuka Society survived two world wars, with time, many other prominent artists joined in such as Olga Boznańska and Józef Pankiewicz. Its role began to diminish in the interwar period, the society was also criticized for being too exclusive and accused of having nationalistic ideals. However, it was discontinued only under the Stalinist system, in 1950, association of Polish Artists Sztuka / Towarzystwo Artystow Polskich Sztuka
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History painting
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History painting is a genre in painting defined by its subject matter rather than artistic style. History paintings usually depict a moment in a story, rather than a specific and static subject. The term is derived from the senses of the word historia in Latin and Italian, meaning story or narrative. Most history paintings are not of scenes from history, especially paintings from before about 1850, History paintings almost always contain a number of figures, often a large number, and normally show some type of action that is a moment in a narrative. The genre includes depictions of moments in religious narratives, above all the Life of Christ, as well as scenes from mythology. These groups were for long the most frequently painted, works such as Michelangelos Sistine Chapel ceiling are therefore history paintings, History painting may be used interchangeably with historical painting, and was especially so used before the 20th century. Where a distinction is made historical painting is the painting of scenes from secular history, in the 19th century historical painting in this sense became a distinct genre. In phrases such as historical painting materials, historical means in use before about 1900 and he placed emphasis on the ability to depict the interactions between the figures by gesture and expression. This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of academic art, which continued to adhere to it. Scenes from ancient history had been popular in the early Renaissance, and once again became common in the Baroque and Rococo periods, and still more so with the rise of Neoclassicism. In some 19th or 20th century contexts, the term may refer specifically to paintings of scenes from history, rather than those from religious narratives. Scenes from ancient history and mythology were also popular, artists continued for centuries to strive to make their reputation by producing such works, often neglecting genres to which their talents were better suited. The large works of Raphael were long considered, with those of Michelangelo, un Peintre qui ne fait que des portraits, na pas encore cette haute perfection de lArt, & ne peut prétendre à lhonneur que reçoivent les plus sçavans. He who produces perfect landscapes is above another who only produces fruit, a painter who only does portraits still does not have the highest perfection of his art, and cannot expect the honour due to the most skilled. By the late 18th century, with religious and mytholological painting in decline, there was an increased demand for paintings of scenes from history. Classical history remained popular, but scenes from national histories were often the best-received, the unheroic nature of modern dress was regarded as a serious difficulty. When, in 1770, Benjamin West proposed to paint The Death of General Wolfe in contemporary dress and he ignored these comments and showed the scene in modern dress. Although George III refused to purchase the work, West succeeded both in overcoming his critics objections and inaugurating a more historically accurate style in such paintings. M. W, conveniently their clothes had been worn away to classical-seeming rags by the point the painting depicts
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Impasto
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Impasto is a technique used in painting, where paint is laid on an area of the surface very thickly, usually thick enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas, when dry, impasto provides texture, the paint appears to be coming out of the canvas. The word impasto is Italian in origin, in that language it means dough or mixture, Italian usage of impasto includes both a painting and a potting technique. According to Websters New World College Dictionary, the noun of impasto is pasta. Oil paint is the medium for impasto painting, due to its thickness. Acrylic paint can also be used for impasto by adding heavy body acrylic gels, Impasto is generally not possible in watercolour or tempera without the addition of thickening agent due to the inherent thinness of these media. An artist working in pastels can produce a limited impasto effect by pressing a soft pastel firmly against the paper, first, it makes the light reflect in a particular way, giving the artist additional control over the play of light on the painting. Second, it can add expressiveness to the painting, the viewer being able to notice the strength, third, impasto can push a painting into a three-dimensional sculptural rendering. The first objective was originally sought by such as Rembrandt, Titian. Much later, the French Impressionists created entire canvases of rich impasto textures, vincent van Gogh used it frequently for aesthetics and expression. Still more recently, Frank Auerbach has used such heavy impasto that some of his paintings become almost three-dimensional, because impasto gives texture to the painting, it can be opposed to flat, smooth, or blending techniques. Selected examples of paintings which make use of the impasto technique Media related to Impasto at Wikimedia Commons Lindberg. Alfred Currier, Impasto National Portrait Gallery, London
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Symbolism (arts)
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Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts. In literature, the style originates with the 1857 publication of Charles Baudelaires Les Fleurs du mal, the works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s, in the 1880s, the aesthetic was articulated by a series of manifestos and attracted a generation of writers. The name symbolist itself was first applied by the critic Jean Moréas, distinct from, but related to, the style of literature, symbolism in art is related to the gothic component of Romanticism and Impressionism. In ancient Greece, the symbolon was a shard of pottery which was inscribed, Symbolism was a reaction in favour of spirituality, the imagination, and dreams. Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists, for Huysmans, the Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. The Symbolists continued to admire Théophile Gautiers motto of art for arts sake, many Symbolist poets, including Stéphane Mallarmé and Paul Verlaine, published early works in Le Parnasse contemporain, the poetry anthologies that gave Parnassianism its name. One of Symbolisms most colourful promoters in Paris was art and literary critic Joséphin Péladan, a number of Symbolists were associated with the Salon. Symbolists believed that art should represent absolute truths that could only be described indirectly, thus, they wrote in a very metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning. Jean Moréas published the Symbolist Manifesto in Le Figaro on 18 September 1886, the Symbolist Manifesto names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine as the three leading poets of the movement. In a nutshell, as Mallarmé writes in a letter to his friend Cazalis, to not the thing. Symbolist poems were attempts to evoke, rather than primarily to describe, – both poets seek to identify one sense experience with another. The earlier Romanticism of poetry used symbols, but these symbols were unique, the symbolists were more extreme, investing all things, even vowels and perfumes, with potential symbolic value. The physical universe, then, is a kind of language that invites a privileged spectator to decipher it, Symbolist symbols are not allegories, intended to represent, they are instead intended to evoke particular states of mind. The nominal subject of Mallarmés Le cygne is of a trapped in a frozen lake. Significantly, in French, cygne is a homophone of signe, un cygne d’autrefois se souvient que c’est lui Magnifique mais qui sans espoir se délivre. They were also portrayed as at odds with society, having tragic lives and these traits were not hindrances but consequences of their literary gifts. Schopenhauers aesthetics represented shared concerns with the symbolist programme, they tended to consider Art as a contemplative refuge from the world of strife and will
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Bydgoszcz
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Bydgoszcz /ˈbɪdɡɒʃtʃ/ is a city in northern Poland, on the Brda and Vistula rivers. With a city population of 358,614, and an urban agglomeration with more than 470,000 inhabitants and it has been the seat of Bydgoszcz County and the co-capital, with Toruń, of the Kuyavian-Pomeranian Voivodeship since 1999. Prior to this, between 1947 and 1998, it was the capital of the Bydgoszcz Voivodeship, and before that, Bydgoszcz is part of the metroplex Bydgoszcz-Toruń, which totals over 850,000 inhabitants. Bydgoszcz is the seat of Casimir the Great University, University of Technology and Life Sciences, Bydgoszcz hosts the Pomeranian Philharmonic concert hall, the Opera Nova opera house, and the Bydgoszcz Ignacy Jan Paderewski Airport. There are also a number of other Polish place-names which make use of the goszcz suffix, the name Byd-gost contains archaic elements of the Proto-Slavonic root byd which existed as a variant of the verb to raise, and the common Slavic root Goszcz. Some people identify the name of the town as Budorgis, a name from the 2nd century which is listed next to the village Calisia on the amber route, during the early Slavic times a fishing settlement called Bydgozcya, became a stronghold on the Vistula trade routes. In the 13th century it was the site of a castellany, the city was occupied by the Teutonic Knights in 1331, and incorporated into the monastic state of the Teutonic Knights. The city was relinquished by the Knights in 1343 with their signing of the Treaty of Kalisz along with Dobrzyń, king Casimir III of Poland, granted Bydgoszcz city rights on 19 April 1346. The city increasingly saw an influx of Jews after that date, in 1555, however, due to pressure by the clergy, the Jews were expelled and came back only with the annexion to Prussia in 1772. In the 15th and 16th centuries Bydgoszcz was a significant site for wheat trading, during 1629, near the end of the Polish-Swedish War of 1626–29, the town was conquered by Swedish troops led by king Gustav II Adolph of Sweden personally. During the events of war the town suffered demolitions, the town was conquered a second and third time by Sweden in 1656 and 1657 during the Second Northern War. On the latter occasion the castle was destroyed completely and has since remained a ruin. After the war only 94 houses were inhabited,103 stood empty and 35 were burned down, also the suburbs had been damaged considerably. In 1772, in the First Partition of Poland, Bydgoszcz was acquired by the Kingdom of Prussia, renamed Bromberg, at the time, the town was seriously depressed and semi-derelict. In 1807, after the defeat of Prussia by Napoleon and the signing of the Treaty of Tilsit, with Napoleons defeat at the Battle of Nations in 1815, the town was returned to Prussia as part of the autonomous Grand Duchy of Posen. In 1871 the Province of Posen, along with the rest of the Kingdom of Prussia, in the mid-19th century, the arrival of the Prussian Eastern Railway contributed greatly to the development of Bromberg. The first stretch, from Schneidemühl to Bromberg, was opened in July 1851, the city grew from 12,900 in 1852 to 57,700 in 1910 – of whom 84 percent were Germans and 16 percent Poles. After World War I, despite Brombergs German majority, it was assigned to the recreated Polish state by the 1919 Versailles Treaty, now officially Bydgoszcz again, the city belonged to the Poznań Voivodeship
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National Museum, Warsaw
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The National Museum in Warsaw, popularly abbreviated as MNW, is a national museum in Warsaw, one of the largest museums in Poland and the largest in the capital. The museum is home to numismatic collections, a gallery of applied arts. The National Museum in Warsaw was established on 20 May 1862, as the Museum of Fine Arts, Warsaw, the collection, on Jerusalem Avenue, is housed in a building designed by Tadeusz Tolwiński, developed between 1927 and 1938. In 1932 an exhibition of decorative art opened in the two earlier erected wings of the building, the new building was inaugurated on 18 June 1938. The purpose-built modernistic edifice, was situated on the edge of Na Książęcem Park established between 1776–79 for Prince Kazimierz Poniatowski, from 1935 the museum director was Stanisław Lorentz, who directed an effort to save the most valuable works of art during World War II. The Gestapo headquarters presented Rembrandts portrait of Maerten Soolmans as a gift to Hans Frank in occupied Kraków, after the war the Polish Government, under the supervision of Professor Lorentz, retrieved many of the works seized by the Germans. More than 5,000 artifacts are still missing, in 2008 the Polish Archaeological Mission Tyritake of National Museum in Warsaw commenced works at Tyritake, Crimea. It is headed by Alfred Twardecki curator of the Ancient Art Gallery, in 2010 the National Museum, as one of the first state institutions in the world, held an exhibition entirely consecrated to homoerotic art - Ars Homo Erotica. Since the 2011–12 renovation, the museum is considered as one of the most modern in Europe with a computer-led LED lighting allowing to enhance unique qualities of every painting. In 2012 the permanent galleries underwent revolutionary changes, the curators of the museum re-arranged it and supplemented it with new works from the museums warehouses. Paintings were not hung chronologically, but thematically, genre painting, still lifes, landscapes, cityscapes, biblical, mythological, works by Italian, Flemish, Dutch, German and Polish artists were hung together, making it easy to observe and compare similarities and differences. The Gallery of Medieval Art mainly presents objects from the late Middle Ages, originating from different regions of todays Poland and these works were originally designed almost exclusively for churches. The exhibition was designed to allow the audience to understand the role of art in the life of the Middle Ages. The new techniques implemented in the gallery allow the presentation of large polyptychs, such as the famous Grudziądz Polyptych. The new arrangement of the exhibition was designed by WWAA, the Gallery of Old Masters on the second floor was conceived from the former Gallery of Decorative Art, Gallery of Old European Painting and the Gallery of Old Polish and European Portrait in 2016. It combines species of pictorial art - painting, sculpture, drawings and these social spaces have provided the key to the division of the gallery,1. Church, chapel and domestic altar,3, in the redesigned gallery, the works are presented not according to national schools, but as a confrontation of artistic circles of the South and North. The new system reflects the hierarchy of the created by Renaissance art theory
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Karol Estreicher (senior)
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Karol Józef Teofil Estreicher was a Polish bibliographer and librarian who was a founder of the Polish Academy of Learning. While he is known as the father of Polish bibliography, he is considered the founder of the bibliographical method in literary research. His monumental work, Bibliografia Polska is called the most outstanding bibliography of Polish books, after completing university studies in philosophy and law, he worked in the judiciary in Kraków and Lviv, where bibliography became his passion. In 1868 he returned to Kraków and became director of the Jagiellonian Library where during a 37-year tenure he modernized and tripled its collection and he was also an author, historian, literary critic, journalist, and theater critic. Bibliografia Polska, Wydanie Towarzystwa Naukowego Krakowskiego, Bibliografia Polska XIX stulecia, lata 1881-1900
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Konstanty Laszczka
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Konstanty Laszczka was a Polish sculptor, painter, graphic artist, as well as professor and rector of the Jan Matejko Academy of Fine Arts in Kraków. Laszczka became the Rector of the Academy in 1911, however, Laszczka was born into a large farming family in Masovia, the son of Antoni Laszczka and his wife Katarzyna, from Kupce village. His talent was first discovered by the Ostrowscy family of landed gentry who sponsored his art studies in Warsaw in 1885 under the tutorage of Jan Kryński, soon later Laszczka received a scholarship from the Polish Society of Visual Arts called Zachęta and went to Paris in 1891. While in France, he studied at the École nationale supérieure des Beaux-Arts Academy and he received directions from such artists as Jean-Antoine Mercié, Alexandre Falguiere and Jean-Léon Gérôme. He was also involved in the movement of the French Polonia. In 1897 Laszczka returned to Poland under foreign partitions and became a teacher in Warsaw, in 1899 at the invitation of painter Julian Fałat, Laszczka settled in Kraków where he became the professor at the Academy of Fine Arts. In years 1900-1935 he was a director at the Sculpture Department there, while in Kraków, Konstanty Laszczka became close friends with Stanisław Wyspiański and Leon Wyczółkowski. He was one of the members of the Society of Polish Artists called Sztuka. Among his students were, Stanisław Jackowski, Bolesław Biegas, Xawery Dunikowski, Ludwik Konarzewski, Franciszek Mączyński and Olga Niewska, in years 1900-1910 he also cooperated as graphic designer and sculptor with ceramic factory of Józef Niedźwiecki in nearby Dębniki. His son, Bogdan Laszczka, became an architect and activist of the Polish Tatra Society, Laszczka died in Kraków at the end of the Stalinist period and was buried there at the famous Rakowicki Cemetery. In his work Konstanty Laszczka followed the example of his master, the influence is most evident in a series of female nude studies, sculpted around the turn of the century and based on symbolic themes. The earliest statue called Zima was made in 1895, later, Laszczka created more female nudes overwhelmed with emotions, such as Żal in 1901, and Zasmucona 1901–1902 now at a National Gallery. His connection with the Art Nouveau movement emanated from statues such as W nieskończoność from 1896–1897, Nostalgia and he focused above all on sculpture, but also painted portraits, made medals, portrait medallions and occasional plaques. In the late period of his career he became interested in fired ceramics, with subject matter drawn from religious, folk. Dobrowolski Tadeusz, Sztuka Młodej Polski, Warszawa 1963, słownik artystów polskich i obcych w Polsce działających. Kotkowska-Bareja Hanna, Konstanty Laszczka, Siedlce 1976, puciata-Pawłowska Joanna, Konstanty Laszczka, Siedlce 1980
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Culture.pl
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Culture. pl is a large web portal devoted to Polish culture. It was founded by the Adam Mickiewicz Institute in March 2001, written in Polish, English and Russian, the site promotes the work of Polish artists around the world and is a popular information database on all artistic aspects of Polish culture. As well as acting as a database, the site covers current cultural events related to Poland, many articles are written in English and specifically aimed at international audiences. The portal was founded in March 2001, the project was initially conceived and designed by Andrzej Lubomirski, who also acted as editor-in-chief until 2008. Subsequent editors-in-chief have included Monika Rencławowicz, Elżbieta Sawicka, Weronika Kostyrko, in 2010, the monthly magazine Press named Culture. pl the best polish-language cultural portal on the Internet. In 2015, the won the Culture on the Net” category in TVP Kultura’s annual “Guarantee of Culture” awards. The prizes recognise the most interesting and important Polish cultural stars of the year, Culture. pl Official website Culture. pl, How it All Began History of the Culture. pl website IAM. pl Official website of the Adam Mickiewicz Institute
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Adam Mickiewicz Institute
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The Adam Mickiewicz Institute is a government-sponsored organization funded by the Ministry of Culture and National Heritage of Poland. Named for Polish national poet Adam Mickiewicz, its goal is to promote the Polish language, the Institute operates a bilingual Polish-English portal called Culture. pl created in 2001. While the Adam Mickiewicz Institute frequently collaborates with the Polish Cultural Institutes, they are independent of each other and belong to separate ministries
22.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
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National Library of the Czech Republic
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The National Library of the Czech Republic is the central library of the Czech Republic. It is directed by the Ministry of Culture, the librarys main building is located in the historical Clementinum building in Prague, where approximately half of its books are kept. The other half of the collection is stored in the district of Hostivař, the National Library is the biggest library in the Czech Republic, in its funds there are around 6 million documents. The library has around 60,000 registered readers, as well as Czech texts, the library also stores older material from Turkey, Iran and India. The library also houses books for Charles University in Prague, the library won international recognition in 2005 as it received the inaugural Jikji Prize from UNESCO via the Memory of the World Programme for its efforts in digitising old texts. The project, which commenced in 1992, involved the digitisation of 1,700 documents in its first 13 years, the most precious medieval manuscripts preserved in the National Library are the Codex Vyssegradensis and the Passional of Abbes Kunigunde. In 2006 the Czech parliament approved funding for the construction of a new building on Letna plain. In March 2007, following a request for tender, Czech architect Jan Kaplický was selected by a jury to undertake the project, later in 2007 the project was delayed following objections regarding its proposed location from government officials including Prague Mayor Pavel Bém and President Václav Klaus. Later in 2008, Minister of Culture Václav Jehlička announced the end of the project, the library was affected by the 2002 European floods, with some documents moved to upper levels to avoid the excess water. Over 4,000 books were removed from the library in July 2011 following flooding in parts of the main building, there was a fire at the library in December 2012, but nobody was injured in the event. List of national and state libraries Official website
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Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
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Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
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