Relevant bibliographies by topics / Polish art

Contents

  1. Journal articles

Academic literature on the topic 'Polish art'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 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 'Polish art.'

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 "Polish art"

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
More sources
You might also be interested in the extended bibliographies on the topic 'Polish art' for particular source types:
Journal articles
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