W tej strefie zapraszamy czytelników tak zwane artystyczne dusze po książki z kategorii Sztuka. Polecamy szereg publikacji o sztuce i jej historii,ciekawostki i portfolia artystów, eseje, albumy, książki o malarstwie, rzeźbiarstwie, architekturze oraz histoii fotografii. Biografie ciekawych artystów, książki i powieści przedstawiające fascynujące losy malarzy i osób uwiecznianych na obrazach. W tym dziale tylko ksiązki ze sztuka w tle.
Album prezentuje większość cyklów rzeźbiarskich artystki realizowanych do lat 90.Zawiera ponad 100 barwnych i czarno-białych fotografii, eseje Michaela Brensona i Jasi Reichardt, autorskie komentarze do prac oraz wspomnienia i refleksje Magdaleny Abakanowicz. Ponadto: wstęp Wojciecha Krukowskiego, tekst Ryszarda Stanisławskiego, a także: biografię, obszerne zestawienie wystaw i bibliografię artystki.
Autorka przedstawia Malczewskiego jako człowieka i artystę. Ukazuje proces dojrzewania jego osobowości oraz sztuki w połączeniu z przygodami i problemami bliskimi każdemu człowiekowi. Powieść, oprócz Malczewskiego, opisuje także jego rodzinę, rodaków, czasy, w których żył, kobiety, które kochał i słabości, którym ulegał.
Translated by Barbara Komorowska
The ethnography of historiography developed in communist Poland is a consequence of the ‘anthropological turn’ in historiographic and methodological studies and an aspect of the ethnography of modern thought in the field of history. This is a proposal of an anthropological view of history as a field of culture. The ethnography of modern thought in the field of history combines reflections classically preserved for the history of historiography, methodology of history and cultural anthropology. Dealing with the case of Górski and reconstructing his vision of the world and man allows for an interpretive reconstruction of the cultural ‘piece’ of historiography developed in the Polish People’s Republic and sketching a fragment of its ‘cartographic image’ and diagnosis. The diagnosis concerns the phenomenon of anthropologising history, whose local variants can be observed in historiography developed in communist Poland.
Wstęp / 11
Małgorzata Nowalińska
Warsztat średniowiecznego mistrza. Sposoby mechanicznego kopiowania rysunku / 13
Dorota Maria Borowska
Widzimy to, co wiemy. Znaczenie geometrii w tworzeniu kompozycji obrazu Jana van Eycka Małżeństwo Arnolfinich / 31
Katarzyna Novljaković
Dwustronnie malowany obraz Lippa d’Andrei di Lippo z kolekcji książąt Czartoryskich jako przykład tradycyjnego warsztatu quattrocenta / 45
Anna Forczek-Sajdak
Renesansowe pomniki nagrobne rodziny Pieniążków herbu Odrowąż z Krużlowej i Skrzydlnej / 63
Alicja Saar-Kozłowska
Uwagi na temat warsztatu barokowego rzeźbiarza w kamieniu. Między formą wyciętą, nieukończoną a pogłębioną polichromią / 87
Mateusz Jasiński
Analiza technologiczna obrazu Sąd Midasa ze zbiorów Muzeum Lubelskiego w Lublinie – porównanie z warsztatem Gerrita van Honthorsta i innych caravaggionistów utrechckich / 123
Sylwia Svorová Pawełkowicz, Michał Witkowski
Smalta – produkcja i handel w świetle badań archiwalnych i fizykochemicznych / 139
Ewa Doleżyńska-Sewerniak, Jakub Karasiński
Badania stosunków izotopowych ołowiu w próbkach bieli ołowiowej z obrazów Szymona Czechowicza (1689–1775) / 155
Przemysław Waszak
Rekonstrukcje z zakresu historii sztuki a wizja literacka warsztatu biedermeierowskiego malarza Carla Spitzwega / 181
Elżbieta Zygier, Anna Klisińska-Kopacz
Sposób opracowania malarskiego obrazów o tematyce myśliwskiej Maksymiliana Gierymskiego / 193
Andrzej Laskowski
Wokół warsztatu galicyjskiego urbanisty. Casus tarnowskiego architekta Adolfa Juliusza Stapfa / 211
Emilia Ziółkowska-Ganc
Realia pracy architektów-urzędników Królestwa Polskiego w okresie międzypowstaniowym / 223
Szymon Jan Stenka
Miedzioryty i akwaforty Jerzego Hoppena w kontekście jego nieopublikowanego rękopisu z 1941 roku / 255
Karolina Rosiejka
Studio artystki jako metafora dla sztuki. Przypadek Georgii O’Keeffe / 271
Filip Pręgowski
Pracownia jako przestrzeń ideologiczna. O dyskursie wokół przemian artystycznych w amerykańskiej sztuce lat siedemdziesiątych i osiemdziesiątych XX wieku w kontekście medium i warsztatu / 285
Cátia Viegas Wesołowska
Malarstwo emalią na stali w architekturze z perspektywy historycznej w kontekście wczesnych prac Stefana Knappa / 303
Anna Gut-Czerwonka
Megalityczna twórczość Zygmunta Wujka (1938–2018) / 323
Szymon Piotr Owsiański
Z pracowni projektanta i artysty, Yves’a Saint Laurenta. Przestrzeń twórcza i źródła inspiracji / 341
Marek Barański
Badacz zabytków architektury i jego warsztat / 351
Oleh Rudenko
Myśleć książką. Filozofia twórczości Fedora Łukawego / 373
Przemysław Waszak
Kreślony słowami w wyobraźni świat sztuki w prozie Stanisława Lema / 391
Piotr C. Kowalski
Mój warsztat pracy dawniej i dziś / 405
Wilamowice – niewielkie miasteczko na południu Polski, pod wieloma względami jest zupełnie wyjątkowe. Zasiedlone w XII wieku przez osadników germańskich, przez długie lata zachowywało swoją odrębność kulturową. Jego mieszkańcy posługiwali się własnym językiem, posiadali odmienne stroje i zwyczaje. Dzięki swoim talentom kupieckim szybko się też bogacili, co przyczyniało się do rozkwitu miasta i jego kultury.
W XX wieku sytuacja zaczęła się jednak zmieniać na skutek wydarzeń wojennych i powojennych. Kultura wilamowska zaczęła zanikać. Dzięki wysiłkom badaczy i lokalnych aktywistów czynione są dziś starania o rewitalizację języka i stroju. Wiele na ten temat już napisano. Tematem całkiem niezbadanym do niedawna pozostawała kwestia kultury muzycznej Wilamowic. Ta książka stara się ten brak uzupełnić.
Na podstawie badań etnograficznych, a także materiałów archiwalnych autorka próbuje dokonać rekonstrukcji dawnej dźwiękosfery Wilamowic, a także pokazać, jak muzyka funkcjonuje tam dziś. Czym jest dla Wilamowian, w jakich sytuacjach staje się ważna, w jaki sposób przyczynia się do postrzegania własnego dziedzictwa i tożsamości. W końcu stara się odpowiedzieć na pytanie, czy jest coś takiego, jak muzyka wilamowska i jaka ona jest.
Książka wzbogacona jest o aneks zawierający teksty wilamowskich piosenek wraz z ich tłumaczeniem na język polski.
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Without music, without song, the world is gone. Music in Wilamowice
Wilamowice, a small town in southern Poland is, in many ways, absolutely unique. It was settled in the 13th century by Germanic people and for a long time it preserved its distinct culture. The inhabitants of Wilamowice spoke their own language – Wymysorys, wore original clothing and practiced local customs. They were skilled merchants and became a wealthy community, which resulted in the most prosperous period of the town and its culture.
This situation changed in the 20th century when, as a result of dramatic war and post war circumstances, the culture of Wilamowice began to disappear. Today, thanks to the work of local activists and scholars, intensive revitalization of Vilamovian language and traditional dress has begun. This process has been treated in various studies but Vilamovian musical culture remains almost completely unexplored. This book strives to fill that gap.
What kind of music can be called “Vilamovian” and how does it sound? Through her ethnographic and archival research, Maria Małanicz-Przybylska seeks to reconstruct the forgotten soundscape of Wilamowice and describe the modern contexts in which music is used by the local community, as it recovers its heritage and forges its identity.
The book contains an appendix of Vilamovian songs, with their original texts in Wymysorys and translations into Polish.
Recalling the famed painter's time in a captivating region, this stylish biography reviews Paul Cézanne's years in Paris and the Île de France.
The diverse locations he frequented are explored, from Bonnière Pontoise, Auvers, and Issy les Moulineaux to the villages of Chantilly, Medan, Montgeroult, and the banks of the Marne. Presented as a unique travelers guide, this volume recommends ideal lodging locations as well as walking trails for roaming in and around the capital. Beautifully illustrated reproductions of Cézannes paintings are featured along with a photographic history and a collection of contemporary images.
Depicting the life of a renowned artist, this chronicle follows the routes he left behind while paying homage to his influential works. This bilingual edition includes English and French.
An insightful new look at two renowned photographers, their interconnected legacies, and the vital documents of urban transformation that they created.
In this comprehensive study, Kevin Moore examines the relationship between Eugène Atget (1857–1927) and Berenice Abbott (1898–1991) and the nuances of their individual photographic projects. Abbott and Atget met in Man Ray’s Paris studio in the early 1920s. Atget, then in his sixties, was obsessively recording the streets, gardens, and courtyards of the 19th-century city—old Paris—as modernization transformed it. Abbott acquired much of Atget’s work after his death and was a tireless advocate for its value. She later relocated to New York and emulated Atget in her systematic documentation of that city, culminating in the publication of the project Changing New York.
This engaging publication discusses how, during the 1930s and 1940s, Abbott paid further tribute to Atget by publishing and exhibiting his work and by printing hundreds of images from his negatives, using the gelatin silver process. Through Abbott’s efforts, Atget became known to an audience of photographers and writers who found diverse inspiration in his photographs. Abbott herself is remembered as one of the most independent, determined, and respected photographers of the 20th century.
Since its first issue debuted with a Great Gatsby portrait of Mia Farrow, People magazine has delivered not only outstanding celebrity journalism, but also the best in personality photography. Now, the Editors of People present »The 100 Best Celebrity Photos«.
From a Marilyn Monroe pin-up to an internet-breaking Kim Kardashian Instagram, from Harry Benson's exuberant snaps of The Beatles' first visit to America to Bradley Cooper's star-packed Oscar selfie, these are the images that influenced how we understand fame and glamor.
Included with each picture is the story behind it: A-list photographers tell how they created the images that turned stars into icons, or made legends seem as relatable as family. Here also are People exclusives from the magazine's history of unparalleled access into celebrity homes and off-duty lives that show us the real side of the stars who most captivate and intrigue us.
Now available in a new paperback edition, Richard Renaldi's Touching Strangers embodies the human desire to connect despite our differences. Renaldi directed strangers to pose in front of a large-format, 8-by-10-inch view camera in towns and cities all over the United States.
These startlingly intimate portraits reveal humanity as it could be as most of us wish it would be and as it was, at least for those one fleeting moments in time. The relationships may have only lasted for one moment, but the resulting photographs are moving and provocative, and continue to raise profound questions about the possibilities for breaking down social barriers with positive human connection in a diverse society.
A landmark exploration of the engaging network of relationships among genre painters of the Dutch Golden Age.
The genre painting of the Dutch Golden Age between 1650 and 1675 ranks among the highest pinnacles of Western European art. The virtuosity of these works, as this book demonstrates, was achieved in part thanks to a vibrant artistic rivalry among numerous first-rate genre painters working in different cities across the Dutch Republic. They drew inspiration from each other’s painting, and then tried to surpass each other in technical prowess and aesthetic appeal.
The Delft master Johannes Vermeer (1632–1675) is now the most renowned of these painters of everyday life. Though he is frequently portrayed as an enigmatic figure who worked largely in isolation, the essays here reveal that Vermeer’s subjects, compositions, and figure types in fact owe much to works by artists from other Dutch cities. Enlivened with 180 superb illustrations, Vermeer and the Masters of Genre Painting highlights the relationships – comparative and competitive – among Vermeer and his contemporaries, including Gerrit Dou, Gerard ter Borch, Jan Steen, Pieter de Hooch, Gabriel Metsu, and Frans van Mieris.
Claude Monet was undoubtedly the most important of all the Impressionist painters and his water-lily paintings represent the culminating moment in his career. Monet’s famous garden at Giverny provided the inspiration for the paintings.
This book brings to life the importance and beauty of his garden through archival photographs, including of Monet painting outdoors in his garden. Monet’s Water Lilies reunites the three panels of an exceptionally impressive water lily triptych created by Monet between 1915 and 1926. The Nelson-Atkins Museum of Art, the Saint Louis Art Museum, and the Cleveland Museum of Art each own one panel of the triptych; this book celebrates an exhibition bringing the works together.
Glamor, happiness, and delicate shades of color from the great German fashion photographer.
Esther Haase says that her life is a dance through the world with the camera. Indeed, the Bremen-born photographer, who currently commutes between Hamburg and London, initially studied ballet and stood on the stage before turning to photography.
She has worked for major magazines and international clients for more than twenty-five years, and playfully alternates between fashion, (celebrity) portrait, and reportage. Her oeuvre is permeated by a particular lightness; the women come across as cheerful and larksome, yet they are always self-determined and strong, sexy, and stylish.
For Esther Haase it has to do with telling stories, whether by means of motion blur; lyrical and delicate, or brash colors; or black and white rich in contrast. Some images seem like cineastic dreams, while others are baroque stagings, and still other comical snapshots. With Esther’s World, the great German fashion photographer opens a treasure chest filled with her favorite pictures for the viewer.
The radical artist's major retrospective.
At once radical, controversial and revered, Marina Abramovic (*1946 in Belgrade, Serbia) is one of the most discussed artists today. Famous for her groundbreaking performance works, she continues to expand the boundaries of art. The publication accompanying her first major retrospective in Europe gives an extensive overview of her work from the earliest years until today: film, photography, paintings and objects, installations and archival material.
Since the early 1970s Marina Abramovic explores the intersection between performing and visual art in her work and, though rarely overtly political, poses questions of power and hierarchy. In addressing fundamental issues of our existence and seeking the core of notions like loss, memory, pain, endurance, and trust, she both provokes and moves us.
Now available in a new and expanded edition with previously unpublished photographs, this serene and beautiful paean to New York paints a unique picture of the world’s most vibrant city, from Central Park to Katz’s delicatessen, the Flatiron Building to Battery Park.
Imagine a New York devoid of people, its empty streets, bridges, and waterways as silent and magnificent as an Anselm Adams landscape. This is the New York that Christopher Thomas reveals in duotone photographs that are at once haunting and nostalgic. Employing a large-format Polaroid camera, Thomas shot many of these images in the early hours of the day or with long exposures. The result is a rare glimpse of the Brooklyn Bridge without pedestrians; Grand Central Station without commuters; Fifth Avenue without cars, vendors, workers, or shoppers.
Not only do Thomas’s photographs allow viewers to appreciate the spatial and architectural splendor of these New York City icons, but they also evoke a dreamlike feeling that is unusual in visual depictions of the city. Timeless, yet unmistakably contemporary, this collection by an internationally acclaimed photographer is an important addition to the pantheon of photographic essays of New York’s most beloved settings.
This new monograph captures the life and work of a Magnum great, Werner Bischof, and features his most iconic images, as well as insight into his life as a photojournalist and artist.
Known for his postwar social documentary work, Bischof was inspired to become a journalist after the ruin of World War II left him unable to be a passive observer. He traveled documenting both the suffering of the postwar world and the day-to-day life within traditional cultures affected by industry and technology. This expansive collection, edited by the photographer’s son, brings together these photographs, organized geographically—Europe, India, Japan and Korea, Hong Kong, Indochina, and North and South America.
Accompanying the photographs are the contact sheets, letters, diaries, and sketches that give an intimate glimpse into his creative process, revealing the highlights, struggles, and his vulnerability. The book encapsulates Bischof’s far-reaching search for human connection through storytelling and is a testament to his relentless obsession to find harmony and beauty. In the words of Simon Maurer, “his photographs open up worlds.” And true to this quote, this book provides a time capsule of the postwar world, opened up by the compelling and profound story of the life of this adventurous artist.
"Hey Mister, throw me some beads!" is a phrase that is iconic in New Orleans Mardi Gras street argot.
Strings of beads, doubloons, and other trinkets are passed out or thrown from the floats in the Mardi Gras parades to spectators lining the streets. In 1974, Bruce Gilden was a young photographer when he first went down to Mardi Gras to shoot his first personal essay away from his home city New York. But when Gilden first stepped foot in New Orleans, he found himself in "a pagan dream where you can be what you want to be." So Gilden became a regular, making seven trips down to the mayhem of Bourbon Street between 1974 and 1982.
The energy, the mentality, social / cultural mores of Mardi Gras were all new for Gilden, but he captured the carnival crowds with the same raw intensity and poignancy that characterize his most iconic New York street photographs.
In the history of photography, the lives of the major personalities behind the lens are often as captivating as the images they have left behind. Yet, while certain photographs have become world famous, indelibly printed on the cultural consciousness, the stories of the photographers have been all too often distorted, obfuscated, or overlooked, and their social and political environments misunderstood or forgotten.
Lives of the Great Photographers brings together the engaging and entertaining biographies of thirty-eight pioneers in the field, selected, carefully researched, and narrated by respected photography expert Juliet Hacking. The entries evoke the lives and backgrounds of these landmark figures, bringing new light to their work and forging a better understanding of how they pioneered new techniques and approaches. The text is accompanied by a beautifully curated sampling of images, including many rarely seen portraits and self-portraits.
With entries on Margaret Bourke-White, Brassai, Robert Capa, Henri Cartier-Bresson, Walker Evans, André Kertész, Eadweard Muybridge, Edward Steichen, and many others, Lives of the Great Photographers captures from a new angle the contributions of some of the most masterful image-makers in history.
Blondes, beds and black-and-white works sum up this selection of Roy Lichtenstein's series, based on an exhibition mounted at Vienna's famous Kunsthaus Bregenz in 2005.
This substantial catalogue contains 80 essential color reproductions, some in high-quality foldouts, under three thematic groupings: early black-and-white works of the 1960s; the woman as motif in his paintings from the 1960s, 1970s and 1980s; and his interiors, especially those from the 1990s.
Leading scholars in the field, including Michael Lobel and Avis Berman, newly illuminate the Pop master's oeuvre in the context of this juxtaposition of early and late periods. Also included are studio photographs, some of which have never been published before, and finally, a biography and bibliography related specifically to the exhibition themes.
Attention all hipsters! In November 2012, the worlds coolest camera brand celebrates its 20th anniversary with the publication of this official two-volume slipcased title. Book I features specially commissioned photography showing off all cameras in the vast Lomography range, including every limited edition and the best one-offs ever made. Book II traces the story of the last 20 years of Lomography, as seen through the wonderful and varied world of Lomo lenses. Anecdotes and recollections relate the stuff of Lomo legend. Chronologically organized and featuring the very best photographic material from the 1.5 million-strong Lomography community, this volume is a snapshot of every corner of the lomographic world. This is an absolute must-have package for designers, photographers and hipsters the world over. The future is analogue!
“The death of a beautiful woman is unquestionably the most poetical topic in the world,” wrote Edgar Allan Poe. And one is tempted to be of the same opinion when considering Ophelia, Madame Bovary, or Anna Karenina. This concept is also deeply rooted in Far Eastern culture: Buddhism even recommends daily meditation on one’s own death.
The Japanese artist Izima Kaoru (*1954 in Kyoto) lets the most beautiful of the beautiful generate ideas about their own impermanence, about their own death, which he then translates into images. Starting with classic and strict landscape photographs, his highly aesthetic images slowly approach the victims of self-inflicted or external violence—right through to detailed close-ups of their faces—who have experienced death in perfect beauty.
"Landscapes with a Corpse" assembles for the first time all of the photographic epics created by Izima since 1993. Japanese film divas and models, but also European actresses such as Barbara Rudnik or Helena Noguerra, are posed in perpetual beauty in gowns by Prada, Gucci, and Dior. The visual sources range from traditional Japanese Ukiyo-e woodcuts to Pop Art—and the results are always characterized by a bewitching melancholic beauty, and sadness.
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