Papers by Waldemar Deluga, Ostravska Universzita, Filozoficka Fakulta
English version below
Мистецтво країн Центральної Європи, пов'язане як з латинською, так і з в... more English version below
Мистецтво країн Центральної Європи, пов'язане як з латинською, так і з візантійською традиціями, належить до культурно різноманітного комплексу, що є цікавою сферою порівняльних досліджень. У 1960-х роках історики мистецтва шукали нових рішень для вивчення європейського мистецтва. Зміни кордонів практично всіх країн регіону спричинили великі труднощі у практиці гуманітарних наук, включаючи історію мистецтва. Комуністична пропаганда, цензура та контроль над науковим життям призвели до того, що багато вчених почали виконувати вимоги влади. У той час пропагувалася так звана нативність, і багато істориків мистецтва взялися за інвентаризацію пам'яток. У статті представлені профілі істориків мистецтва, чиї праці є важливими для наших розглядів: Ян Білостоцький, Лайош Вайєр, Резван Теодорешку, Яніна Клосінська. Я згадую важливі ініціативи в регіоні, такі як семінари в Неджиці, 1980-1991, організовані польськими, чеськими, словацькими та угорськими істориками мистецтва. Але презентації східнохристиянських пам'яток не було. Більшість істориків мистецтва вважали східнохристиянське мистецтво в Центральній Європі провінційним і класифікували його як етнографічне. Українці, білоруси та литовці не мали можливості зустрітися із зовнішнім світом. Перебуваючи під домінуванням централізованих установ у Москві та Ленінграді, вони не виходили за межі свого кола. Однак вони підготували основу для майбутніх досліджень, проводячи інвентаризаційні роботи та охороняючи пам'ятки в музеях. Віра Свєнціцька, Павло Жолтовський та Борис Возницький захищали пам'ятки, наскільки могли. Після 1989 року країни колишнього «Східного блоку» відновили свою незалежність, і настала епоха вільних наукових досліджень без цензури та кордонів. Мистецтво Християнського Сходу увійшло в науковий обіг, але все ще недостатньо. У цій статті висвітлено деякі приклади цієї нерівності.
The art in the countries of Central Europe, related to both the Latin and Byzantine traditions, belongs to a culturally diverse set, which is an interesting area of comparative research. In the 1960s, art historians sought new solutions to the study of European art. Changes in the borders of virtually all countries in the region caused great difficulties in the way of practising the humanities, including the history of art. Communist propaganda, censorship, and control of scientific life resulted in many scholars meeting the requirements of the authorities. At that time, the so-called nativeness was promoted and many art historians took up the inventory of monuments. The article presents profiles of art historians whose works are important for our considerations: Jan Białostocki, Layos Vayer, Răzvan Theodoreşcu, Janina Kłosińska. I mention important initiatives in the region, such as Niedzica Seminars, 1980-1991, organised by Polish, Czech, Slovak, and Hungarian art historians. But there was no presentation of the Eastern Christian monuments. Most art historians considered eastern Christian art in Central Europe to be provincial and classified it as ethnographic. Ukrainians, Belarusians, and Lithuanians did not have a chance to meet with the outside world. Dominated by centralised institutions in Moscow and Leningrad, they did not go beyond their own circle. However, they prepared the foundation for future research conducting inventory works and protecting monuments in museums. Vira Svientsitska, Pavel Zholtovsky, and Borys Voznitsky protected the monuments as much as they could save. After 1989 the countries of the former 'Eastern Bloc' regained their independence, and there was an era of free scientific research, without censorship and borders. The art of the Christian East has entered scholarly circulation, but still insufficiently. This article highlights some examples of this disparity.
Series Byzantina, 2024
Research on Eastern Christian art in Central Europe has been developing for many decades, but sti... more Research on Eastern Christian art in Central Europe has been developing for many decades, but still there is a lot of study to be carried out to give us a comprehensive picture of artistic environments related to the Eastern Christianity. The works of art, in particular icons, are scattered and most of them are held in the museum collections of Ukraine, Poland, Slovakia, Hungary, and Romania. A careful study of the objects needs to be followed by a description of the sets of museum objects, primarily in the context of icons occurring in sequences corresponding to individual iconostases. Previous scholarship has usually presented them as individual items, often without a reflection on the liturgical context. Therefore, it is also necessary to reconstruct the interiors of churches. For this purpose, studies of individual museum collections should be carried out. The specific nature of the work of art forces us to reflect on new research methods proposed in the modern world.
Research on the Easter Christian art carried out in the 19th century, concentrated in scientific environments, located within the borders of the former Austro-Hungarian Empire, contributed to the protection of many historical objects in the following century. When the Royal and Imperial Central Commission for Preservation and Research of Artistic Heritage (Zentrallkomission zur Erforschung und Erhaltung der Baudenkmäler) was established in Vienna in 1853, it was stated there was a need to build branches in large cities, far from the capital of the Empire. The article discusses institutions operating in the territory of Eastern and Western Galicia, which promoted research on the art of the Eastern Christianity.
Article presents the history of the Armenian Church of the Immaculate Conception of the Blessed V... more Article presents the history of the Armenian Church of the Immaculate Conception of the Blessed Virgin Mary in Stanisławów / Ivano-Frankivsk. The church was erected in the years 1743-1762 under the initiative of Hetman Józef Potocki. In 19 th and 20 th century the church was demolished few times: in 1868 after the fire of Stanisławów the church was partially destroyed; during the First World War, the façade of the Armenian church, including the tower, was again damaged, and inn 1917, the retreating Russian troops demolished the interior. After the Second World War, the church was closed by communist. Armenians moved the city and emigrate to Gdańsk, Warsaw, and Gliwice. The elements of the main altar, together with the miraculous painting of Our Lady of Stanisławów, were transported to Gdańsk. Some artefacts kept in the Museum in Ivano-Frankivsk and in the Archives of the Foundation of Culture and Heritage of Polish Armenians in Warsaw.
In September 2021, Galerie Kornfeld presented forty works by Marc Chagall (1887-1985). The oldest... more In September 2021, Galerie Kornfeld presented forty works by Marc Chagall (1887-1985). The oldest auction house in the world selling works on paper: engravings, drawings, gouaches, and pastels, put up for sale beautiful artefacts from the collection of the artist's family. 1 The auction was a huge success-all the works sold, with many of them reaching high prices, and, for the first time since 1864, it was recognized as a "white glove sale". 2 Eberhard Kornfeld, who ran the gallery until 1951, contributed not only to the popularization of modern art, but also to the development of the history of engravings and drawings of the 20th century, organizing a lot of exhibitions and publishing a number of monographic catalogues including the oeuvre of
Academia Letters, 2022
We do not know much about Ukrainian art, outside Ukraine, only Poles and Romanians had conducted ... more We do not know much about Ukrainian art, outside Ukraine, only Poles and Romanians had conducted significant scientific research before the war of 2022, but most often in the context of artistic ties between nations. During the communist era, Ukrainian scholars did not have at their disposal many journals or the possibility to freely publish publications in their own language.
Academia Letters, 2021
The second place of the exhibition symbolised the golden age of the private collection in USA (ca... more The second place of the exhibition symbolised the golden age of the private collection in USA (ca. 1890 to 1940). A big part of the presented paintings, prints, and drawing came from American private collections. Accompanying catalogue by Adam M. Thomas introduces the reader to the subject matter presented at the exhibition in Pennsylvania and New York.[1] Sloan represents the Ashcan School, an artistic movement developing in the United States at the beginning of the twentieth century. His works have been present during different exhibitions, organised last century, but it was the first time, when the specific life of New Yorkers on the roofs became the main motif of the exhibition. Sloan addresses issues related to the lives of mass immigrants coming from Europe in large numbers. Ideally involved in the activities of the Socialist Party, it shows the poverty of New York. This subject did not match the New York salons, hence their absence from exhibitions for many decades.[2] There are also fewer shows in the form of oil paintings, and more drawings. And they are the most important part of the exhibition. "The city above the city" becomes a place of entertainment for the inhabitants of New York, the world of lovers' meetings and a place for recreation and rest. In oil paintings, Sloan shows beauty, like his contemporaries, William Glackens and Charles Hoffbauer, whose colourful works are shown
nr 2 (89) luty 2020 Strona1 SZTUKA I KRYTYKA / ART AND CRITICISM Komunikat Zarządu Polskiego Inst... more nr 2 (89) luty 2020 Strona1 SZTUKA I KRYTYKA / ART AND CRITICISM Komunikat Zarządu Polskiego Instytutu Studiów nad Sztuką Świata 2020, nr 2 (89) luty Pod redakcją: Jerzego Malinowskiego, Grażyny Raj i Marcina Teodorczyka (sekretarz) Strona2 Polski Instytut Studiów nad Sztuką Świata /
Národní památkový ústav, ÚOP v Brně Sadzba a grafické spracovanie / Typesetting: © Mgr. Bronislav... more Národní památkový ústav, ÚOP v Brně Sadzba a grafické spracovanie / Typesetting: © Mgr. Bronislava Porubská Tlač / Printed by: KASICO, a. s., Bratislava Náklad: 500 kusov ISBN 978-80-89175-89-5 ISSN 1336-4820 Obálka / Cover: Karte des Österreichischen Staats, spracoval/created by Albrecht Platt; Platts Großer Atlas der Erde, 2. vyd., Magdeburg 1848. Zdroj: commons.wikimedia.org.
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Papers by Waldemar Deluga, Ostravska Universzita, Filozoficka Fakulta
Мистецтво країн Центральної Європи, пов'язане як з латинською, так і з візантійською традиціями, належить до культурно різноманітного комплексу, що є цікавою сферою порівняльних досліджень. У 1960-х роках історики мистецтва шукали нових рішень для вивчення європейського мистецтва. Зміни кордонів практично всіх країн регіону спричинили великі труднощі у практиці гуманітарних наук, включаючи історію мистецтва. Комуністична пропаганда, цензура та контроль над науковим життям призвели до того, що багато вчених почали виконувати вимоги влади. У той час пропагувалася так звана нативність, і багато істориків мистецтва взялися за інвентаризацію пам'яток. У статті представлені профілі істориків мистецтва, чиї праці є важливими для наших розглядів: Ян Білостоцький, Лайош Вайєр, Резван Теодорешку, Яніна Клосінська. Я згадую важливі ініціативи в регіоні, такі як семінари в Неджиці, 1980-1991, організовані польськими, чеськими, словацькими та угорськими істориками мистецтва. Але презентації східнохристиянських пам'яток не було. Більшість істориків мистецтва вважали східнохристиянське мистецтво в Центральній Європі провінційним і класифікували його як етнографічне. Українці, білоруси та литовці не мали можливості зустрітися із зовнішнім світом. Перебуваючи під домінуванням централізованих установ у Москві та Ленінграді, вони не виходили за межі свого кола. Однак вони підготували основу для майбутніх досліджень, проводячи інвентаризаційні роботи та охороняючи пам'ятки в музеях. Віра Свєнціцька, Павло Жолтовський та Борис Возницький захищали пам'ятки, наскільки могли. Після 1989 року країни колишнього «Східного блоку» відновили свою незалежність, і настала епоха вільних наукових досліджень без цензури та кордонів. Мистецтво Християнського Сходу увійшло в науковий обіг, але все ще недостатньо. У цій статті висвітлено деякі приклади цієї нерівності.
The art in the countries of Central Europe, related to both the Latin and Byzantine traditions, belongs to a culturally diverse set, which is an interesting area of comparative research. In the 1960s, art historians sought new solutions to the study of European art. Changes in the borders of virtually all countries in the region caused great difficulties in the way of practising the humanities, including the history of art. Communist propaganda, censorship, and control of scientific life resulted in many scholars meeting the requirements of the authorities. At that time, the so-called nativeness was promoted and many art historians took up the inventory of monuments. The article presents profiles of art historians whose works are important for our considerations: Jan Białostocki, Layos Vayer, Răzvan Theodoreşcu, Janina Kłosińska. I mention important initiatives in the region, such as Niedzica Seminars, 1980-1991, organised by Polish, Czech, Slovak, and Hungarian art historians. But there was no presentation of the Eastern Christian monuments. Most art historians considered eastern Christian art in Central Europe to be provincial and classified it as ethnographic. Ukrainians, Belarusians, and Lithuanians did not have a chance to meet with the outside world. Dominated by centralised institutions in Moscow and Leningrad, they did not go beyond their own circle. However, they prepared the foundation for future research conducting inventory works and protecting monuments in museums. Vira Svientsitska, Pavel Zholtovsky, and Borys Voznitsky protected the monuments as much as they could save. After 1989 the countries of the former 'Eastern Bloc' regained their independence, and there was an era of free scientific research, without censorship and borders. The art of the Christian East has entered scholarly circulation, but still insufficiently. This article highlights some examples of this disparity.
Research on the Easter Christian art carried out in the 19th century, concentrated in scientific environments, located within the borders of the former Austro-Hungarian Empire, contributed to the protection of many historical objects in the following century. When the Royal and Imperial Central Commission for Preservation and Research of Artistic Heritage (Zentrallkomission zur Erforschung und Erhaltung der Baudenkmäler) was established in Vienna in 1853, it was stated there was a need to build branches in large cities, far from the capital of the Empire. The article discusses institutions operating in the territory of Eastern and Western Galicia, which promoted research on the art of the Eastern Christianity.