Relevant bibliographies by topics / Art, Polish

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art, Polish'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Art, Polish.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Art, Polish"

1

Wiercinska, Janina. "The Polish Art Bibliography." Art Libraries Journal 16, no. 01 (1991): 7–9. http://dx.doi.org/10.1017/s0307472200018897.

Full text
Abstract:
The need to document the history of art in Poland, and to provide a bibliographic record of, and access to, that documentation, is felt the more keenly because Poland’s cultural heritage has been so vulnerable to the ravages of history. The Polish Art Bibliography 1801-1944, a labour of love dating back to 1951, existed for many years as a constantly expanding card index at the Institute of Art of the Polish Academy; publication in a series of volumes began with Volume I Part 1 in 1975, and brought with it problems of editing and selection. Volumes II and III have followed; Volume IV, devoted to architecture, is in preparation.
APA, Harvard, Vancouver, ISO, and other styles
2

Dabrowski, Patrice M. "Hutsul Art or “Hutsul Art”?" Canadian-American Slavic Studies 50, no. 3 (2016): 313–31. http://dx.doi.org/10.1163/22102396-05003003.

Full text
Abstract:
This article is concerned with the fate of the Hutsul kilim and, by extension, Polish-Ukrainian relations in the interwar period. This was a period when the Hutsul highlanders of the Eastern Carpathians (today citizens of modern Ukraine), the traditional weavers of these geometrically-patterned woolen rugs, found themselves within the newly established Second Polish Republic. Most commercial weaving was in Jewish hands at this time, and this production was far inferior to that done by Hutsuls themselves, primarily for their own domestic use. The decline of the Hutsul kilim was arrested by a Ukrainian émigré from Soviet Russia, whose “Hutsul Art” collective reinvigorated the form. This development brought the Hutsul kilim to the attention of those who would wish to appropriate it, or at a minimum consider it part and parcel of interwar Poland’s artistic production. The article demonstrates that, while Ukrainians were keen on integrating the Hutsul kilim into the Ukrainian kilim tradition, Poles preferred to keep the Hutsul kilim distinct, thus allowing it to be seen as part of the heritage of the multiethnic interwar Polish state.
APA, Harvard, Vancouver, ISO, and other styles
3

Witkowska, Sylwia. "POLISH FEMINISM – PARADIGMS." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (2019): 192–239. http://dx.doi.org/10.5604/01.3001.0012.9836.

Full text
Abstract:
Sylwia Witkowska Polish Feminism – Paradigms The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The state- ment that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photogra- phy or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
APA, Harvard, Vancouver, ISO, and other styles
4

Stanik, Mariusz. "UWAGI DO WYKŁADNI ART. 19 UST. 1 USTAWY O KINEMATOGRAFII." Zeszyty Prawnicze 11, no. 3 (2016): 335. http://dx.doi.org/10.21697/zp.2011.11.3.17.

Full text
Abstract:
Comments to the Interpretation of art. 19 Clause 1 of the Cinematography ActSummary The text describes a dispute between entities conducting cinemas and film distributors regarding the interpretation of art. 19 clause 1 of the Cinematography Act. The dispute concerned the question whether under the aforementioned provision film distributors are obliged to participate in financing the fee towards Polish Film Art Institute. Analysis of this issue is based on the Warsaw District Court and Appeal Court judgments issued in 2008 and 2009. Analysis also takes into consideration the stenographic records of the parliamentary committee working under the Cinematography Act and interpretation of art. 19 clause 1 of the Cinematography Act made by Polish Film Art Institute itself. In conclusion the author states that according to art. 19 clause 1 of the Cinematography Act the only entities obliged to finance and pay the fee towards Polish Film Art Institute are entities conducting cinemas. Possible changes in this scope may be made only under the appropriate provisions of civil law agreements between such entity and film distributor.
APA, Harvard, Vancouver, ISO, and other styles
5

Ewa Chwojko-Srawley. "Polish Footprint on Canadian Art." Polish Review 63, no. 1 (2018): 49. http://dx.doi.org/10.5406/polishreview.63.1.0049.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Durek, Ewa. "Exporting art under Polish law." Annales Universitatis Paedagogicae Cracoviensis. Studia de Securitate 13, no. 2 (2023): 171–82. http://dx.doi.org/10.24917/26578549.13.2.10.

Full text
Abstract:
One of the best ways to promote an artist is to sell his work to a famous, international collection. There are strong voices in law and art economy, claiming that Polish legal regulation regarding art export is unnecessarily strict and complicated, which results in suppressed promotion of arts and cultural development. In the following article, I am exploring this problem by analyzing current Polish legal regulations as well as contemporary cases relevant to the topic. I am also investigating the problem by delving into Polish history, especially the aftermath of the Swedish Deluge and World War II, which both resulted in looting and destruction of Polish cultural heritage on a catastrophic scale. I determine that Polish legal regulations regarding art export are, in fact, on the strict side and are constructed to keep cultural heritage inside the borders. However, this approach is completely justified by the cultural and political climate in which those regulations were conducted. That being said, more than half a century after the last major art looting that took place on Polish grounds, it is time to reevaluate and adjust some of the legal regulations. I conclude my article with the proposition of expanding autonomy for the museum’s board of directors in dealing with exhibits under their care.
APA, Harvard, Vancouver, ISO, and other styles
7

Wasilewska, Diana. "INTERNATIONAL CRITICAL RECEPTION OF PROPAGANDIST EXHIBITIONS OF POLISH ART IN THE 1920S AND 1930S." Studia Humanistyczne AGH 18, no. 3 (2019): 45–53. http://dx.doi.org/10.7494/human.2019.18.3.45.

Full text
Abstract:
The goal of this article is first of all to describe the reception of exhibitions of Polish interwar art in the foreign press. I pay closer attention to those of exhibitions that were most prestigious and acclaimed, such as the Venice Biennale, where representatives of Polish art were juxtaposed with other countries’ pavilions and judged in comparison to them. It was the time of the battle against the radical avant-garde, accused of bringing art to a state of impasse, stagnation, or even slow agony. Most exhibitions of Polish art abroad were organized by Mieczysław Treter (1883–1943) a philosopher and art historian, but also an exhibition curator and director of TOSSPO (the Association for the Promotion of Polish Art Abroad), who faced a very difficult task trying to fulfil his mission to promote Polish art through exhibitions. He had to take into account this artistic climate and the dynamically changing situation on the art market, and respond to the expectations of foreign critics, who would examine the art of particular nations with the focus on manifestations of national style. On the other hand, he had to consider the opinions of the Polish artists and critics as well as pressures from the ministry and Polish diplomats
APA, Harvard, Vancouver, ISO, and other styles
8

Jaworski, Marcin. "Popular Author of Popular Art." Creativity. Theories – Research - Applications 3, no. 1 (2016): 118–26. http://dx.doi.org/10.1515/ctra-2016-0009.

Full text
Abstract:
AbstractThe article provides a report on research conducted on the creative activity of Jerzy Wróblewski, a Polish author of comics published in the book „Urodzony, żeby rysować”. Twórczość komiksowa Jerzego Wróblewskiego, “Born to Draw.” Jerzy Wróblewski’s Comic Art (Jaworski, 2015). It is the first study of this kind in Poland. From this point of view, it contains not only a body of knowledge in the form of a monograph of the comic writer’s artistic creativity, but it also includes a developed research model. The structure of this model, combining traditional monographic narrative with broad historical, political and social context, can be used in the analyses of artistic accomplishments of other authors of Polish comics. The presented study addresses the need for scientific explorations in this field, but also for raising the value of those parts of Polish modern culture which were marginalised as ‘worse’ for many years, first for political reasons, then for cultural ones. It appears that the time has come to examine critically the artistic creativity of important figures of Polish popular culture (in this case of comics) objectively and without ideological prejudice, and recognise them as full authors of Polish culture. Jerzy Wróblewski is among them and that is why the book is about him.
APA, Harvard, Vancouver, ISO, and other styles
9

Mossakowski, Stanisław. "Polish Art—Between Universal and Native." Dialogue and Universalism 17, no. 5 (2007): 27–42. http://dx.doi.org/10.5840/du2007175/629.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Kowalewska, Marta, Michał Jachuła, and Irena Huml. "The Polish School of Textile Art." TEXTILE 16, no. 4 (2018): 412–19. http://dx.doi.org/10.1080/14759756.2018.1447074.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Art, Polish"

1

Popovicova, Iva. "New body politic Czech and Polish women's art of the 1990s." Saarbrücken VDM Verlag Dr. Müller, 2006. http://d-nb.info/989277348/04.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Ganczak, Iwona. "At the crossroads of politics and culture : Polish dissident art of the 1980s." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.

Full text
Abstract:
This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional religious vocabulary. This unusual relationship between symbolic language of art and the symbols of the Church and the Solidarity accounted for the inherently political nature of dissident art. This thesis will discuss dissident art in context of the contemporary discourses: the discourse of the Communist Party, the Church, John Paul II and Solidarity.
APA, Harvard, Vancouver, ISO, and other styles
3

Marlow, Gregory. "Week 14, Video 05: Splining and Polish." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/92.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Rożnowska-Sadraei, Agnieszka. "Pater Patriae : St. Stanislas and the art of the Polish kings (1200-1455)." Thesis, Courtauld Institute of Art (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440480.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Wojtowicz, Ian (Ian Stanislaw). "B'Seder : the design of a social medium for Polish and Jewish communities." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/78506.

Full text
Abstract:
Thesis (S.M. in Visual Studies)--Massachusetts Institute of Technology, Dept. of Architecture, September 2012.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 163-165).<br>"The history of the Polish-Jewish relationship is...the embattled terrain of several collective memories, each with its claim to moral legitimacy, and each charged with fierce and sometimes vehement feelings." These contested histories are the source of tension and animosity between Poles and Jews to this day. Unlike the German-Jewish relationship, where "the moral rights and wrongs were starkly clear," Poland's past is far more complex. This thesis describes the design of a storage and retransmission medium for these contested histories, using photography, nomadic performance, new media mapping techniques and imaginary architecture. The system, entitled B'Seder, makes use of the ancient technology of memory palaces to produce a long-term relational aesthetic practice for the transformation of post-conflict societies through storytelling, conversation, and the mapping of narratives into visual forms. Using a well established process from post-traumatic therapy, the medium focuses on restructuring fragmented memories into a cohesive, flowing story. In formal terms, the project begins with a photograph of an empty room. Anecdotes are collected from readings, films and conversations with community participants. These anecdotes are then transformed into mnemonic objects, which are depicted in the image. This process of accumulation of object/stories continues as the image is taken to new sites with new participants. The system then transitions into an editing and organizing mode where these anecdotes are arranged into a singular narrative sequence, which is memorized and recounted in public space.<br>by Ian Wojtowicz.<br>S.M.in Visual Studies
APA, Harvard, Vancouver, ISO, and other styles
6

Craren, Robin Pilch. "Veit Stoss/Wit Stwosz Contextualized within the Polish Tradition of Sculpture in the Late Fifteenth Century." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/199428.

Full text
Abstract:
Art History<br>M.A.<br>Veit Stoss (ca. 1438/1447-1533), a contemporary of Albrecht Dürer (1471-1528), was one of the most prominent limewood sculptors of the late fifteenth-early sixteenth century in Central Europe. Stoss worked in Nuremberg for a majority of his career, commissioned by its leading patrician families to make various pieces of limewood sculpture for the city's churches. His work in Nuremberg was interrupted by a nearly twenty-year stay in Krakow, Poland, from 1477 until 1496, where he undertook two monumental sculptural projects that remain his earliest extant works today, the multi-winged altarpiece of the Dormition of the Virgin Mary (1477-1489) done in limewood and the red marble tomb effigy for King Casimir IV Jagiellon (1492). Previous scholarship on Stoss has focused on the commission of the Dormition of the Virgin Mary, but has ignored the importance of this work both within the artist's large artistic development and within the already existing tradition of wood sculpture in late-fifteenth-century Poland. What is more, many twentieth-century German and Polish art historians have mobilized Stoss's career anachronistically within modern nationalist frameworks to support their own political agendas, choosing to ignore the cosmopolitanism of Krakow's mixed population and the dynamic hybrid nature of his works' iconography and artistic style. This thesis seeks to move beyond the limiting and distorting lens of earlier nationalist agendas with the aim to restore Stoss to his historical context as an artist who borrowed stylistically from painting, prints, and sculpture, and who met the demands of diverse patrons, both in Germany and in Poland, by creating a dynamic hybridity of styles, local and foreign.<br>Temple University--Theses
APA, Harvard, Vancouver, ISO, and other styles
7

Czerwinski, Mikolaj. "PRAGMATIC MODERNISM: PROJECT [PROJEKT] AND POLISH DESIGN, 1956-1970." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_theses/96.

Full text
Abstract:
Recently Scholars of design history began to recognize the phenomenon of Socialist Modernism, the return to modernist aesthetics to Eastern Europe and the Soviet Union during the thaw, the disavowal of Stalinist policies by Nikita Khrushchev after the 20th Party Congress of the Communist Party in February of 1956 and the resulting turn away from Socialist Realism, a historicist method in architecture that expressed socialist values, which the Stalinist favored. Scholars of art and design argued that Socialist Modernism in Poland constituted an affirmation of the party’s authority and that of the political system because designers who practiced it focused on abstract form and technological experiments. Unlike the modernism of the early 20th century, which followed a utopian ideology to ensure universal well being through art and design, it focused on the aesthetics of elementary form. However, based on this research, I investigated the journal Projekt of the main state-sponsored publisher in the years, 1956-1970. I have found that its contributors practiced a pragmatic modernism. Although they focused on technological experiments and utilized abstract form, failing to engage in politics, the designers that surrounded Projekt attempted to create user center design that fostered the well being of man, avant-garde values that the 1920s and 1930s functional modernist groups of Central and Eastern advocated. Therefore, following a period of Socialist Realism (1948-1956) in Poland, Projekt advocated for avant-garde values in design while ignoring the political situation, therefore fulfilling a pragmatic site in which it tolerated the authoritarian party, but argued for user based, socially conscious design that connected it to like minded designers in the west.
APA, Harvard, Vancouver, ISO, and other styles
8

Sheffield, Katelyn McKenzie. "Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3723.

Full text
Abstract:
In this thesis I consider the unique position that Polish artist Zofia Stryjeńska (1891-1974) occupied during the interwar period. Lauded during her time as the most popular artist in Poland, the acceptance of Stryjeńska's female voice in representing a national vocabulary was unprecedented and deserves closer examination. I assert that Poland's history of oppression created a unique environment where women as archetypal figures often took on masculine roles. These 'transgressive types' were visible in the literature and art of the 19th and 20th centuries. Stryjeńska's art, as well as her behavior, capitalized on these transgressive traditions. Women played an important role as visual and ideological figures within the national mythologies of Poland, and while these mythologies situated women as authorities in protecting, cultivating, and renewing the land, and by extension the nation, few women actually achieved the status of shaping them. Zofia Stryjeńska was an example of one who did. At the age of twenty-one Zofia cut her hair, dressed as her brother, and, as a boy, enrolled in the academy of fine art in Munich. This act found precedence in the years of Polish imagery and it ultimately allowed her to create a space for herself and her art. This thesis pays particular attention to Stryjeńska's part in the 1928 renovation of the Warsaw town square. Like many other artists at this time, she worked in many mediums and employed folk-art motifs and styles in the quest to create a truly "Polish" style. Stryjeńska's art drew on national images of Polish women as the Virgin Mary, the good Polish Mother, and Pagan Goddess. Idealized tropes, such as these, often represented a disconnect between everyday social norms and the greater ideals of a national identity. Zofia Stryjeńska embodied this juxtaposition. Her art drew on national images of Polish women filled with blurred gender boundaries. These images, prominent for centuries, at once empowered Polish women while also being relegated safely to the abstract realm of legend and myth. These female ideals, therefore, served as less of a threat to the rigid gender expectations that were a part of everyday Polish life. Zofia Stryjeńska was an example of a woman who laid claim to the female ideals of Polish culture. She used myth to define her behavior; her studies in Munich, and by doing so launched her life into the realm of myth, creating a sensationalized image more legend than reality.
APA, Harvard, Vancouver, ISO, and other styles
9

CARDASSILARIS, NICOLE RUTH. "Bringing Cultures Together: Elma Pratt, Her International School of Art, and Her Collection of International Folk Art at the Miami University Art Museum." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204738152.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Jarzebska, Aneta. "Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970s." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/transgressing-the-borders-of-gallery-space-subversive-practices-of-alternative-art-galleries-in-east-germany-and-poland-of-the-1970s(80cbed0c-10b9-4211-9ad2-3a0e19f94a30).html.

Full text
Abstract:
This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Art, Polish"

1

Rosikoń, Janusz. Polish madonnas. DAR, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Alicja, Słowikowska, Polish Artists Union, and International Book Fair, eds. Contemporary Polish book art. Polish Artists Union, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Gayle, Wimmer, Bar Or Galia, and Mishkan Le'Omanut Museum of Art Ein Harod., eds. Contemporary Polish fiber art. Modan Publishing House, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

The art of Polish cooking. Pelican Pub. Co., 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Dydo, Krzysztof. Masters of Polish poster art. Buffi, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Polish art of the 70s. Centrum Sztuki Współczesnej Zamek Ujazdowski, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Orientu, Polskie Stowarzyszenie Sztuki, ed. Art of Japan, Japanisms and Polish-Japanese art relations. Polish Institute of World Art Studies, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Centre, Third Eye, Muzeum Sztuki w. Łodzi, and Poland. Ministerstwo Kultury i Sztuki., eds. Polish realities: New art from Poland. Third Eye Centre, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Stencel, Jenny. Polish you pretty. Ryland Peters & Small, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Żygulski, Zdzisław. An outline history of Polish applied art. Interpress Publishers, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Art, Polish"

1

Miéville, Denis. "Leśniewski, Negation, and the Art of Logical Subtlety." In The Golden Age of Polish Philosophy. Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2401-5_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kludkiewicz, Kamila. "Museums of a Stateless Nation, between History and Art." In Spaces for Shaping the Nation. transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-007.

Full text
Abstract:
In this article, Kamila Kudkiewicz is dedicated to the question of Polish national museums in the nineteenth century. At the end of the eighteenth century, the historical territory of Poland was divided among Russia, Austria, and Prussia. Each of these countries had its own laws and policies towards Poles: take, for example, the policies of Russification and Germanization implemented by the Russian and German authorities in their respective territories and, contrastingly, the autonomy granted to Polish Galicia in Austria-Hungary after 1860. Despite the differences between the regions, in the second half of the nineteenth century, Poles founded museums that were perceived to be 'national', whether on a de facto basis - as attested by publications and written sources from the period - or because they had the word 'national' in their very name. Although early initiatives to create museums with the designation 'national' were undertaken in Poland as early as the eighteenth century, actual national museums (or institutions considered to be such) only emerged after 1870. The latter consisted of : the Musee National Polonais (Polish National Museum) in Rapperswil, Switzerland (opened 1870), the Muzeum im. Mielzynskich w Poznaniu (Mielzynski Museum in Poznan, 1881), the Muzeum Narodowe w Krakowie (National Museum in Krakow, 1883), the Muzeum Narodowe im. Krola Jana III we Lwowie (King Jan III National Museum in Lviv, 1908), and the Muzeum Sztuk Pieknych w Warszawie (Museum of Fine Arts in Warsaw), which was called after 1916 the Muzeum Narodowe w Warszawie (National Museum in Warsaw). The most important Polish national museums were established in large urban centres, namely in regional capitals (i.e. Poznan, the capital of Greater Poland in the nineteenth century within the borders of Prussia, and Krakow, the main city of Galicia in the nineteenth century within Austria and later Austria-Hungary), but also in other nations (i.e. Rapperswil in Switzerland). They were founded by city authorities, learned societies, or private collectors. The fact that the museums were established and managed by various entities made their activities very diverse. However, one can observe two main areas of interest for Polish national museums in the nineteenth century: national (Polish) history, on the one hand, and Polish art, primarily contemporary painting, on the other. In some cases, like that of Rapperswil, the dominating elements of the collection were connected with historical elements that, at least initially, were also sentimental, nostalgic, and emotional in character. This sentimentality bespeaks the institution's intended influence on viewers. Elsewhere, the wish to exhibit and promote Polish art prevailed over the interest in objects related to national history (i.e. the Mielzynski Museum in Poznan). And certain museums underwent an evolution in their declared status, from that of a national gallery of painting to that of an institution attempting to show various aspects of Polish culture (National Museum in Krakow). The present analysis of the activity of these museums will focus on the discourse accompanying their creation, the goals set by their founders, and the curation of their exhibitions.
APA, Harvard, Vancouver, ISO, and other styles
3

Acheraïou, Amar. "Polish Responses: Art and the Ethics of Collectivity." In Joseph Conrad and the Reader. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230250833_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Juszkiewicz, Piotr. "Modern, Primitive, Folk and Socialist. Mexican Art in Polish Art History and Art Criticism, 1949 – 1972." In Universal – International – Global. Böhlau Verlag, 2023. http://dx.doi.org/10.7788/9783412520830.258.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Kutis, Barbara. "Superwoman, Supermother, or Polish Mother? Elżbieta Jabłońska’s Artistic Negotiation of Motherhood." In Artist-Parents in Contemporary Art. Routledge, 2020. http://dx.doi.org/10.4324/9780429467981-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Rutecka-Baynes, Monika. "Jan Matejko and Polish Historical Painting." In Representing the Past in the Art of the Long Nineteenth Century. Routledge, 2021. http://dx.doi.org/10.4324/9781351004183-9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Ogrodniczuk, Maciej, Piotr Pęzik, Marek Łaziński, and Marcin Miłkowski. "Language Report Polish." In European Language Equality. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-28819-7_29.

Full text
Abstract:
AbstractThe quality of language technology (LT) for Polish has greatly improved recently, influenced by three independent trends. The first one is Poland-specific and concerns the increase in national funding of both scientific and R&amp;D projects, resulting in the construction of The National Corpus of Polish and the development of the CLARIN-PL and DARIAH-PL infrastructures. Two other trends are global: the development of language resources (LRs) and tools by private companies and of course, the deep learning revolution which has led to enormous improvements in the state-of-the-art in all fields of language processing.
APA, Harvard, Vancouver, ISO, and other styles
8

Manikowska, Ewa. "7. Acquiring Paintings for the Polish Court: King Stanislaw August (1764-1795) and his Dealers." In Art Auctions and Dealers. Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.seuh-eb.4.00035.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Kossowska, Irena. "The Expressive Theory of Art: Hans Tietze and the Polish Promoters of National Art." In East Central European Art Histories and Austria. transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839473634-007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Łabowicz-Dymanus, Karolina. "Normative Practice and “Tradition Management” in the Polish Art and History of Art of the 1950s." In A Socialist Realist History? Böhlau Verlag, 2019. http://dx.doi.org/10.7788/9783412516673.81.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Art, Polish"

1

Bartl, Jan, and Miroslav Hain. "Infrared investigation of works of art." In Eleventh Slovak-Czech-Polish Optical Conference on Wave and Quantum Aspects of Contemporary Optics, edited by Miroslav Hrabovsky, Anton Strba, and Waclaw Urbanczyk. SPIE, 1999. http://dx.doi.org/10.1117/12.353098.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Gródek-Szostak, Zofia, Danuta Kajrunajtys, Olga Jando, and Anna Grabowska. "SELF-EMPLOYMENT AS SEEN BY GRADUATES OF POLISH ART COLLEGES." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1145.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Lanceva, Anna M. "The image of Queen Jadwiga in Polish musical art of XIXth century." In Slavic World: Commonality and Diversity. Institute of Slavic Studies, Russian Academy of Sciences, 2022. http://dx.doi.org/10.31168/2619-0869.2022.1.02.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Stankiewicz, K., D. Jasiulek, J. Rogala-Rojek, and S. Bartoszek. "Selected, State-of-the-Art Mechatronic Systems in Polish Underground Mining Industry." In 30th International Symposium on Automation and Robotics in Construction and Mining; Held in conjunction with the 23rd World Mining Congress. International Association for Automation and Robotics in Construction (IAARC), 2013. http://dx.doi.org/10.22260/isarc2013/0013.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Semakina, Tatiana R. "Art Not for Art’s Sake: Polish Publicist on the 1930s Proletarian Culture." In Slavic World: Commonality and Diversity. Institute of Slavic Studies, Russian Academy of Sciences, 2021. http://dx.doi.org/10.31168/2619-0869.2021.3.11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Bebykh, B. P. "UKRAINIAN-POLISH INTERSECTIONS IN THE CREATIVE ACTIVITY OF BOHDANA FROLYAK." In FOCUS AREAS OF CULTURE AND ART IN UKRAINE AND THE REPUBLIC OF POLAND. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-374-3-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Panfilova, O. G. "KREMENETS AS A CENTER OF OF POLISH AVANT-GARDE ART IN THE 1930S 20TH CENTURY." In АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-37.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Sobakina, Olga. "The Musical Graphics in Connection with Synesthesia in the Context of the Polish Avant-guard." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.29.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Bykova, A. M. "Between painting and literature: 3 types of ekphrasis in Polish poetry of the 20th century (analysis of selected examples)." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-78.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Denysiuk, O. Yu. "UKRAINIANS AT THE WARSAW ACADEMY OF ARTS: ON THE ISSUE OF POLISH-UKRAINIAN ARTISTIC RELATIONS IN THE 1920S AND 1930S." In FOCUS AREAS OF CULTURE AND ART IN UKRAINE AND THE REPUBLIC OF POLAND. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-374-3-17.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Art, Polish"

1

Fullerton, Don. Tax Policy Toward Art Museums. National Bureau of Economic Research, 1990. http://dx.doi.org/10.3386/w3379.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Cialella, A., M. Jensen, A. Koontz, et al. ARM Standards Policy Committee Report. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1052590.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Costa, Pedro, and Ricardo Lopes. Is street art institutionalizable? Challenges to an alternative urban policy in Lisbon. DINÂMIA'CET-IUL, 2014. http://dx.doi.org/10.7749/dinamiacet-iul.wp.2014.08.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Niang, Aminata, Lansine Sountoura, Kaderi Bukari, Imogen Bellwood-Howard, and Peter Taylor. Collaborative Art-Making for Deliberation in Africa. Institute of Development Studies, 2023. http://dx.doi.org/10.19088/ids.2023.036.

Full text
Abstract:
Across West Africa and East Africa, policy actors and citizens have tended to discuss socio-environmental issues in ways that recognise emotional, subjective viewpoints, but can be antagonistic. Although deliberation literature suggests that collaborative arts-based activities can encourage consideration of affective dimensions, their major value in these emotive, hierarchical and antagonistic contexts is to promote more convivial working relationships.
APA, Harvard, Vancouver, ISO, and other styles
5

Lee, InSung O. United States Policy Toward North Korea - The Art of Peace Supports U.S. Interests. Defense Technical Information Center, 1998. http://dx.doi.org/10.21236/ada344393.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Tella, Sebastian Di, and Pablo Kurlat. Why are Banks Exposed to Monetary Policy? National Bureau of Economic Research, 2017. http://dx.doi.org/10.3386/w24076.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Schmalensee, Richard, and Robert Stavins. Policy Evolution under the Clean Air Act. National Bureau of Economic Research, 2018. http://dx.doi.org/10.3386/w25309.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Bellwood-Howard, Imogen, Peter Taylor, and Aminata Niang. How to Use Collaborative Art-Making for Dialogue and Communication. Institute of Development Studies, 2023. http://dx.doi.org/10.19088/ids.2023.035.

Full text
Abstract:
Artists have often used artworks to express emotions and thus prompt public dialogue about contemporary challenges. At the same time, it has been suggested that collaborative art-making can be used in environmental deliberation processes, where stakeholder groups discuss contentious challenges such as the effects of flooding. Policy actors have rarely been deeply involved in these processes. Our recent research showed that collaborative art could be used to develop relationships between groups, including policy actors, in deliberation processes, by creating artworks to bring concerns into the public domain.
APA, Harvard, Vancouver, ISO, and other styles
9

Miller, Grant, and Christine Valente. Population Policy: Abortion and Modern Contraception are Substitutes. National Bureau of Economic Research, 2016. http://dx.doi.org/10.3386/w22085.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Neitzel, Duane A., Ernest J. Antonio, Tara O. Eschbach, et al. Hanford Site National Environmental Policy Act (NEPA) Characterization. Office of Scientific and Technical Information (OSTI), 2001. http://dx.doi.org/10.2172/789446.

Full text
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography