https://pressto.amu.edu.pl/index.php/aq/issue/feedArtium Quaestiones2023-12-27T12:52:54+01:00Filip Lipińskiaq.redakcja@amu.edu.plOpen Journal Systems<p>„Artium Quaestiones” jest jednym z najważniejszych w Polsce recenzowanych czasopism naukowych z dziedziny historii sztuki, rocznikiem Instytutu Historii Sztuki Uniwersytetu im. Adama Mickiewicza w Poznaniu. Ukazuje się od 1979 roku nakładem Wydawnictwa Naukowego UAM i od początku koncentrowało się na teoretycznych i metodologicznych zagadnieniach historii sztuki. Artykuły publikowane w czasopiśmie dotyczą zarówno sztuki nowoczesnej i współczesnej, jak i dawnej, w tym architektury, ze szczególnym uwzględnieniem problematyki sztuki w Europie Środkowo-Wschodniej. „Artium Quaestiones” publikuje oryginalne i pogłębione studia, które wyznaczają nowe perspektywy badawcze i/lub stanowią świadectwo recepcji i krytycznego przepracowania istniejących koncepcji metodologicznych oraz ich zastosowania, tak w kontekście sztuki rodzimej, jak i obcej.</p> <p>Charakterystyczną cechą „Artium Quaestiones” są krytyczne omówienia najnowszej literatury dziedziny, a zwłaszcza przekłady ważnych, teoretycznych i analitycznych tekstów, artykułów i rozdziałów książek. Dotychczas ukazały się tłumaczenia publikacji takich autorów jak Rosalind Krauss, Hal Foster, Mieke Bal, William J. T. Mitchell, Nicholas Mirzoeff, Griselda Pollock, Georges Didi-Huberman, Louis Marin, Max Imdahl, Michael Brötje, Horst Bredekamp, Hans Belting, Bruno Latour czy Geoffrey Batchen. W wielu przypadkach są to pierwsze przekłady tekstów tych badaczy w Polsce.</p> <p>Redakcja „Artium Quaestiones” zaprasza do nadsyłania propozycji artykułów zarówno polskich i zagranicznych, uznanych naukowców, jak i młodych badaczy sztuki i kultury wizualnej. Publikujemy teksty w języku polskim, angielskim i niemieckim. Od XXVIII (2017) numeru czasopismo zawiera sekcję tematyczną, do której corocznie ogłaszany jest „call for papers”. Zgłaszane do „Artium Quaestiones” artykuły są recenzowane przez międzynarodowe, ciągle powiększające się grono starannie wybranych specjalistów w danej tematyce. Oprócz wersji papierowej, nowe numery „Artium Quaestiones” (od numeru XXVI, 2015) są możliwe do pobrania w postaci elektronicznej stronie czasopisma w ramach platformie wolnego dostępu Uniwersytetu im. Adama Mickiewicza – PRESSto (tam też znajdują się wszelkie niezbędne metadane, numery DOI etc.). Archiwalne numery czasopisma (z wyjątkiem najnowszego) są również dostępne w wersji cyfrowej na stronie biblioteki Uniwersytetu w Heidelbergu. Odpowiednie linki można znaleźć na stronie czasopisma.</p> <p>„Artium Quaestiones” jest indeksowane w European Index for the Humanities (ERIH) oraz Index Copernicus International (ICI) a także figuruje w bazie The Central European Journal of Social Sciences and Humanities (CEJSH) oraz jest dostępne w wolnym dostępie w bazie EBSCO. W 2023 roku ma być też dostępne w bazie Central and Eastern European Online Library (CEEOL).</p> <p>W 2019 roku czasopismo otrzymało dwuletni grant Ministerstwa Nauki i Szkolnictwa Wyższego Wsparcie dla Czasopism Naukowych a w 2022 roku grant Rozwój Czasopism Naukowych. Artykuły publikowane w czasopiśmie otrzymują 140 punktów (zgodnie z ministerialną listą czasopism naukowych). </p> <ul class="oczasopismie"> <li class="show"><a href="https://pressto.amu.edu.pl/index.php/aq/about" target="_blank" rel="noopener">POLITYKA FUNKCJONOWANIA CZASOPISMA</a></li> <li class="show"><a href="https://pressto.amu.edu.pl/index.php/aq/issue/current" target="_blank" rel="noopener">AKTUALNY NUMER</a></li> <li class="show"><a href="https://pressto.amu.edu.pl/index.php/aq/issue/archive" target="_blank" rel="noopener">ARCHIWUM</a></li> </ul> <p><strong>INDEKSOWANE W:<br /></strong><a href="https://kanalregister.hkdir.no/publiseringskanaler/erihplus/periodical/info.action?id=482063">ERIH PLUS</a>, <a href="https://doaj.org/toc/2719-4558">DOAJ</a>, <a href="https://journals.indexcopernicus.com/search/formjml">Index Copernicus Journals Masters List</a>, <a href="https://cejsh.icm.edu.pl/cejsh/element/bwmeta1.element.ojs-issn-0239-202X">CEJSH</a>, <a href="https://www.ceeol.com/search/journal-detail?id=2967">CEEOL</a>, EBSCO.<br /><br /><strong>WSKAŹNIKI OCENY CZASOPISMA:<br /></strong>Punktacja Ministerstwa Edukacji i Nauki (2024): <strong>70<br /></strong>ICV: <strong>82.48<br /><br /></strong><strong>DOI: </strong><a href="https://pressto.amu.edu.pl/index.php/aq/index">10.14746/aq</a><br /><strong>ISSN: 0239-202X <br /></strong><strong>eISSN 2719-4558<br /><br />PRACE PUBLIKOWANE W CZASOPIŚMIE DOSTĘPNE SĄ NA LICENCJI CREATIVE COMMONS:<br /></strong><a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"><img src="https://pressto.amu.edu.pl/public/site/images/aws/ncnd.png" alt="" /></a> <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">Uznanie autorstwa – Użycie niekomercyjne – Bez utworów zależnych 4.0 Międzynarodowe</a></p> <p><strong style="font-size: 0.875rem;">ARCHIWIZACJA<br /></strong><span style="font-size: 0.875rem;">Platforma PRESSto archiwizuje zawartość tego czasopisma w </span><a style="background-color: #ffffff; font-size: 0.875rem;" href="https://pkp.sfu.ca/pkp-pn/">PKP Preservation Network</a><span style="font-size: 0.875rem;"> (PKP PN), co zapewnia tworzenie elektronicznej kopii zapasowej i bezpieczeństwo dostępu do treści czasopisma.</span></p> <div class="oczasopismie"> <p>Czasopismo "Artium Qaestiones" jest zgodne ze standardami <a href="https://i4oc.org/#publishers">I40C</a> dotyczącymi otwartych cytowań.</p> <p><strong>WYDAWCA<br /></strong><a href="https://amu.edu.pl/">Uniwersytet im. Adama Mickiewicza w Poznaniu</a><br /><br /><strong>FINANSOWANIE<br /><img src="https://pressto.amu.edu.pl/public/site/images/oszulc/05-znak-uproszczony-kolor-biale-tlo-d516ba56720749f3c8d64efca22c193c-39a3344e3694017ccb397fc3e6240a15.png" alt="" /></strong><strong><br /></strong></p> <p><strong><img src="https://pressto.amu.edu.pl/public/site/images/madamczak/mceclip0-ce127fdfa8e38be97f1d8f367cd255fc.png" /></strong></p> </div>https://pressto.amu.edu.pl/index.php/aq/article/view/40636Początki naukowych badań nad bursztynem w Gdańsku i kolekcja Jacoba Theodora Kleina (1685–1759)2023-12-27T12:52:54+01:00Anna Sobeckaaq.redakcja@amu.edu.pl<p class="p1">The article deals with the collection of Jacob Theodor Klein and the beginnings of scientific interest in amber in early modern Gdańsk. The text is intended to show the importance of this forgotten collection and the ongoing research into succinite (Baltic amber). The objects from Klein’s collection themselves have been dispersed, and have not survived to the present day, but Klein’s written inventory, which in 1740 ended up in the collection in Bayreuth to later reach Erlangen, allows the collection to be analyz<span class="s1">ed </span>thoroughly. It is the numerous drawings of amber exhibits that are of particular importance. Thanks to the activities of Klein and his contemporaries, including Johann Philipp Breyn, and the drawings made at their request by their daughters, it is possible to trace the flow of objects between collections and reconstruct the meaning of the ‘paper museums’ they created. The text points to the key role of illustration as an element of information exchange in the <span class="s2">respublica litteraria </span>of the time and collaboration of scholars. The role of Gdańsk collections as the basis for the great collections being created at the time in St Petersburg and Dresden is also highlighted.</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Anna Sobeckahttps://pressto.amu.edu.pl/index.php/aq/article/view/40637Księgozbiór specjalistyczny Henryka Grohmana (1862– 1939) a jego kolekcja grafiki nowoczesnej2023-12-27T12:52:52+01:00Urszula Dragońskaaq.redakcja@amu.edu.pl<p class="p1">This article is the first study of the library belonging to the Łódź industrialist and art collector Henryk Grohman (1862–1939). It attempts to answer the question of the degree to which analysing these volumes, which are now housed in the collections of the University of Warsaw Library and the National Museum in Warsaw, can prove helpful in the study of art collections. The methodology for researching historical book collections was used to reconstruct and describe the library. These inquiries resulted in more than 165 titles being determined, which originally belonging to Grohman and covered oriental and European arts and crafts, as well as graphic and drawing arts (about 60). These included monographs, albums, and critical catalogues, exhibition and antiquarian nature, published mainly in Western Europe before 1914. The collector’s specialized book collection, built up on an ongoing basis, overlapped with his artistic interests and had the character of a utilitarian library. From the point of view of the study of graphic collections of the late 19th and early 20th centuries, the reference libraries of their creators seem to be of particular importance. In times when taste no longer sufficed to create a valuable collection, and quality and rarity became the main criteria for selecting graphic works, specialized literature on the subject was of help. Created by art historians, collection curators, art market experts, and also private collectors, it introduced the nuanced world of graphic arts. It provided a tool to help identify a print, determine its state, edition and quality, and thus determine the value of a given work. The preserved publications from Grohman’s library were therefore regarded as sources of specialized knowledge that the collector could not acquire either during his education or in his native environment. Three publications have been analysed in detail in the context of Grohman’s graphic arts collection: the series Le peintre-graveur illustré by Loys Delteil (1906–1926), the two-volume catalogue of Jean-Louis Forain’s lithographs and etchings by Marcel Guérin (1910, 1912), and the album devoted to the engravings of Fank Bangwyn prepared by Frank Newbolt (1908). These are publications reflecting the thriving activity of the circle of print enthusiasts of the late 19th and early 20th centuries, which had a significant impact on the dissemination of knowledge about this field of art. The series of relationships revealed between the collection of prints and drawings and the reference library significantly expanded the knowledge on its creator and how the collection was formed. It made it possible to appreciate the collector’s expertise and artistic taste, to observe how his awareness grew, influencing decisions on subsequent purchases, and also to detail the provenance of certain works. Thanks to the research field being expanded to include Grohman’s library, the findings on his graphic collection have become more complete and reliable.</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Urszula Dragońskahttps://pressto.amu.edu.pl/index.php/aq/article/view/40616The Prince, the Noblemen and the Painter: Collectionso Works of Art in Copenhagen Between 1800 and 18482023-12-19T14:34:29+01:00Charlotte Christensenaq.redakcja@amu.edu.pl<p class="p1">The history of collecting in Denmark and Norway in the 19<span class="s1">th </span>century is intimately connected with the history of the painters and sculptors active during that period. Only in Copenhagen were the Royal and private collections accessible to the artists, for whom copying paintings by Old Masters formed an important part of their curriculum. Major collectors of the Age were Prince Christian Frederik (later King Christian VIII of Denmark), who mainly acquired paintings and sculptures by contemporary artists, and the portrait painter Christian Albrecht Jensen, whose preference was to buy and sell the works of Old Masters. In Copenhagen, the collections of the Counts Moltke, which mainly consisted of works by Dutch painters, was open to the public, while the Royal Collection (today a part of Statens Museum for Kunst) could only be visited from 1827 onwards. None of the three collections dealt with in the present article have survived until today, while the works of art and the antiques belonging to the sculptor Bertel Thorvaldsen are at present housed in the museum bearing his name.</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Charlotte Christensen https://pressto.amu.edu.pl/index.php/aq/article/view/40639Collecting Coins and Medals in 18th-Century Sweden2023-12-27T12:52:49+01:00Ylva Haidenthalleraq.redakcja@amu.edu.pl<p class="p1">During the 18<span class="s1">th </span>century, collections of coins and medals were familiar sights. The collectors ranged from scholars to amateurs, men and women and the collectables tempt<span class="s2">ed </span>collectors for various reasons: they signified wealth and knowledge, they rendered historical events or current politics in material form, or they were miniature artworks and financial investments. Also, the visual and material culture that involved collect<span class="s3">ing </span>coins and medals consisted of cabinets and numismatic publications. But how were numismatic collections amassed, and how were they used? What did it mean to own a coin and medal collection? This article discusses the practices of collecting numismatics in 18<span class="s1">th</span>-century Sweden through various case studies concerning private and public collections, such as the Uppsala University coin cabinet or the possessions of politician Carl Didric Ehrenpreus, numismatist Elias Brenner, medal artist Arvid Karlsteen, and merchant-wife Anna Johanna Grill. These cases illuminate the diverse motivations behind collecting, from intellectual curiosity to social status. These case studies include immaterial facets such as witty discussions and international networks and material aspects such as coins, medals, cabinets, letters, and publications. Based on contemporary written sources, this article sheds light on how numismatic objects were bought, sold and circulated, highlighting the market dynamics of collecting. Furthermore, the examples examine how numismatic publications were used next to the objects, contributing to hermeneutic study and the collecting process. The written records provide insight into the scholarly discourse surrounding these collections, offering a glimpse into the intellectual context of the time. Finally, the article will add to the understanding of values and ideas attached to the practices of collecting coins and medals in early modern Europe. It elucidates the role of numismatics as a collecting practice, as well as how it shaped cultural perceptions, underscoring the intricate interplay between material and visual culture, society, and the production of knowledge during this period.</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Ylva Haidenthallerhttps://pressto.amu.edu.pl/index.php/aq/article/view/40696Canons and Networks. 19th-Century Danish Art in Paris2023-12-27T12:52:48+01:00Martyna Łukasiewiczaq.redakcja@amu.edu.plThor Mednickaq.redakcja@amu.edu.pl<p style="font-weight: 400;">Collections of Danish Golden-Age art are quite rare outside of Scandinavia, especially when it comes to those developed in accordance with a well-thought-out strategy established through the international cooperation of scholars. An important exception is the large group of Danish drawings, oil sketches, and artists’ correspondence found in the Fondation Custodia – Collection Frits Lugt in Paris, gathered by art historian and longtime museum director Carlos van Hasselt (1929–2009). As director, van Hasselt provided an interesting model of collecting, as his pursuit was not motivated by a particular investment strategy. His collection may, in a sense, be viewed as the material result of a network, one which he established and which brought together Danish researchers and museologists, as well as international art dealers. The aim of this article is therefore to investigate how a network may inform and help determine a particular collection practice, to trace how van Hasselt became an agent of the Danish art establishment, and to provide a critical overview of this collection, which became a satellite representation of the canon of 19th-century Danish art in Paris. Analysis of Carlos van Hasselt’s archive will provide critical reflections on the ways in which the collection was built and developed, and how it may serve as an example of the international dissemination of canons.</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Martyna Łukasiewicz, Thor Mednickhttps://pressto.amu.edu.pl/index.php/aq/article/view/40697Vom Kult zur Marke. Das Nietzsche-Archiv in Weimar und sein Netzwerk .2023-12-27T12:52:46+01:00Maren-Sophie Fünderichaq.redakcja@amu.edu.pl<p>The Nietzsche Archive in Weimar, which was reorganised by Elisabeth Förster-Nietzsche (1846–1935) after the death of her brother Friedrich Nietzsche (1844–1900), is regarded as an example of an outstanding collection that stands for the dawn of modernity around 1900. The circumstances of how Nietzsche’s sister managed and expanded the archive in Weimar clearly show the structure and development of a network. The archive is located on the ground floor of “Villa Silberblick”, a representative Wilhelminian villa on the outskirts of the city, which Förster-Nietzsche had moved into in 1897, and where she cared for her brother and where she remained after his death. This collection in the Nietzsche Archive includes furniture and interiors that Förster-Nietzsche had commissioned from the up-and-coming Belgian architect Henry van de Velde (1863–1957). She wanted to create a place for the Nietzsche cult, which she pursued with all her might, and to have her brother’s works translated into interior design. She was helped in this by patron Harry Graf Kessler (1868–1937), who was looking for a reference project in Weimar for Van de Velde, the new artistic advisor to the young Grand Duke of Saxe-Weimar, and recommended him to Förster-Nietzsche. With Van de Velde’s establishment, the Nietzsche Archive became not only a focal point of Nietzsche worship at the beginning of the 20th century, but also the centre of the “New Weimar”, a cultural-political project for which Kessler and Förster-Nietzsche were able to gain the support</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Maren-Sophie Fünderichhttps://pressto.amu.edu.pl/index.php/aq/article/view/40832Local to National: Victorian Industrialist Art Collectors’ Geographies2023-12-27T12:52:43+01:00Julie Codellaq.redakcja@amu.edu.pl<p>After 1850, the middle and working classes sought cultural education, which John Ruskin, among others, identified as a signifier of civilization and national greatness. Working Men’s Colleges, three 1870 university Slade Professorships in art history, proliferating art publications, and emerging regional museums offered opportunities to become conversant with visual art were then equated with social mobility and Englishness. Amid this cultural nationalism, critic F. G. Stephens’s 100+ Athenaeum series, “The Private Collections of England” (1873–1887), transformed collectors into national heroes. Scholars have noted the rising profile of collectors in 19th-century Europe and the US, in which Stephens’s series participated. Stephens detailed these collections’ expanded geography in England’s industrial north, turning local art collecting into a national, unifying force, a transformation made possible by his periodical serialization itself. These collectors, industrialists, merchants and bankers exemplified a new middle-class social, cultural and political authority. Most of them intended to bequeath their collections philanthropically to museums, thus shaping public tastes and the canon. They were personally and socially networked with artists and with each other, often working in complementary industries. Stephens interspersed his detailed descriptions of artworks with exhibition histories across translocal and transnational spaces, using the power of the press to weave a network between collectors and the public and a shared cultural history that endorsed collectors’ new public identity. However, Stephens also raised tensions about the geography of collecting, emphasizing collectors’ local places while presenting them as shaping a national space in their homogeneous taste and support of the same living artists and even the same pictorial subjects. In this way, Stephens straddled and flattened differences between national and regional market forces when, ironically, England’s art market was be coming increasingly international. This geographical layering is explored here in the context of the rise of provincial art institutions, the period’s notion of national schools and in anticipating the features of the current geohistory of art. I will explore two devices associated with the periodical press: ekphrasis and serialization, both of which Stephens deploys. Stephens wrote long ekphrases on works in these collection and omitted illustrations, noting in several comments that the Athenaeum’s middle-class readers were already familiar with artists’ works. This presumption and his use of 19th-century serialization, used by novelists whose chapters appeared across multiple issues of periodicals, combing to create a powerful force binding readers to his elevation of collectors’ social, national and cultural roles.</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Julie Codellhttps://pressto.amu.edu.pl/index.php/aq/article/view/40836Between Art Historical Representation and Didactic Functionality: The Cast Collection of the Royal Academy of Fine Arts of Antwerp2023-12-27T12:52:40+01:00Ulrike Mülleraq.redakcja@amu.edu.plHélène Verreykeaq.redakcja@amu.edu.plTine D’haeyereaq.redakcja@amu.edu.pl<p>During the long nineteenth century, the Royal Academy of Fine Arts of Antwerp – just like many other art schools in this period – assembled a collection of some 500 plaster casts after ancient and modern sculptures, which played an essential role in the education of young art students. The creation of such collections went in parallel with the blossoming of cast museums all over Europe, as well as the emergence of a large-scale exchange network set up to facilitate the international dissemination of plaster casts. However, in contrast to cast museums, which brought together masterpieces of classical Western sculpture in order to contribute to the aesthetic edification of the public, the cast collections of art academies had a more pragmatic and didactic function. This article focuses on cast collections at art academies, and how the formation and functioning of such collections related to broader educational concepts and practices at these schools. Taking the collection of plaster casts at the Royal Academy of Fine Arts of Antwerp as a case study, we will trace the various actors, methods and strategies employed to create the collection, uncover how the collection related to the artistic idea(l)s expressed in the educational programme of that institution, and discuss how and where it was located and displayed. Based on the rich archives of the academy, it examines a broad range of different sources, including purchase lists, inventories and correspondence concerning the formation of the collection, as well as floor plans, photographs and original drawings attesting to the location and use of the casts. It traces the provenance of the objects, analyzes the profiles of the individuals and institutions involved in creating the collection, and identifies to what extent and how creative repurposing played a role in the collection’s functioning. The article argues how cast collections formed by art academies – in addition to representing the art historical canon of a given place or period – are an important reflection of the didactic practices, aesthetic priorities and, above all, the creative encounters that distinguish these institutions from the purposes of the public (cast) museum.</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Ulrike Müller, Hélène Verreyke, Tine D’haeyerehttps://pressto.amu.edu.pl/index.php/aq/article/view/40845Spis treści2023-12-22T14:07:22+01:00Filip Lipiński aq.redakcja@amu.edu.pl<p>Spis treści</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Filip Lipińskihttps://pressto.amu.edu.pl/index.php/aq/article/view/40842Historia sztuki w polu metodologii. Aktualne problemy i wyzwania2023-12-27T12:52:35+01:00Stanisław Czekalskiaq.redakcja@amu.edu.pl<p>At the end of the 20th century, the theory of art history shifted from the area of methodology understood as a normative field of the philosophy of science to the area of the social practice of constructing knowledge. The term “art historical methodology” itself became trivialized when its meaning was detached from the horizon of epistemology and became extremely inclusive, encompassing all methods practised in the discipline, with a method being considered to be the use of any theory as a tool of interpretation. As a consequence, the basic problem of scientific methodology, which is the critical assessment of explanatory and interpretive theories due to the value of their justification, is not addressed in the self-reflection of contemporary art history. The retreat from the rigors of methodology was related to the reception of structuralism, initiated by Ernst Gombrich in the book Art and Illusion. Popper’s model of situational logic as a method of historical explanation of works of art was transformed into a structuralist model, referring to constant rules of pictorial representation, symbolization and communication. Michael Fried and Norman Bryson formulated their own theories of invariant rules defining the necessary initial conditions for the formation and reception of pictures, so that individual works could be interpreted in terms of these rules and, as a result, confirm the general theory, which created a vicious circle. Structuralist theories did not function as hypotheses requiring critical testing, but as interpretive codes that served to read each work of art within their own conceptual system. The next step in the process of the reception of structuralism was the development of theories defining general rules that would govern the discursive practice of art history, and the detection of which at the basis of this practice would discredit or invalidate its epistemological dimension. Hayden White’s narrativism was the theory that historical discourse is subject to narrative conventions, not to the laws of logic and the rigors of methodology that serve to limit the pool of alternative explanations or interpretations. This theory was intended to justify the pluralism of equal versions of history as a politically correct idea, appropriate for a “democratic” model of knowledge. Theorists developing White’s theses in the field of art history claimed that the discursive practice of this discipline was not governed by methodological rules but by political motivations (Keith Moxey) or aesthetic principles of artwriting (David Carrier). After the phase of open denial of the dependence of the art history discourse on methodology, the theory of the discipline turned into an analysis of techniques for building this discourse, which no longer included methodological issues, as in James Elkins’ book Our Beautiful, Dry, and Distant Texts. A critical review of theories separating art history from methodology leads to the conclusion that they are untenable. It is impossible to maintain the scientific status of our discipline without respecting the principles of methodology founded in the contemporary philosophy of science.</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Stanisław Czekalskihttps://pressto.amu.edu.pl/index.php/aq/article/view/40846Biogramy 2023-12-22T14:12:04+01:00Filip Lipiński aq.redakcja@amu.edu.pl2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 https://pressto.amu.edu.pl/index.php/aq/article/view/40844Editor's Note2023-12-27T12:52:32+01:00Michał Mencfelaq.redakcja@amu.edu.plCamilla Murgiaaq.redakcja@amu.edu.pl<p>Editor's Note</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 https://pressto.amu.edu.pl/index.php/aq/article/view/40841Rewolucja i reakcja2023-12-27T12:52:37+01:00Francis Haskellaq.redakcja@amu.edu.plMichał Mencfelaq.redakcja@amu.edu.pl<p>The article is a Polish translation of a chapter from a book titled Rediscoveries in Art. Some Aspects of Taste, Fashion and Collecting in England and France. The Wrightsman Lectures delivered under the auspices of the New York University Institute of Fine Arts (Cornell University Press: Ithaca, New York 1980; first edition: Phaidon Press Limited 1976) by Francis Haskell (1928–2000), a renowned art historian, the author of classic studies on artistic patronage, the history of taste, and collecting. The subject of the essay is changes in tastes, particularly the increased interest in Italian and Northern European painting at the turn of 18th and 19th centuries and the consequences of this phenomenon for the British and French collections of painting created at that time (as well as the diverse political and social turbulences that occurred in the wake of the French Revolution and the Napoleonic wars).</p>2023-12-27T00:00:00+01:00Prawa autorskie (c) 2023 Francis Haskell; Michał Mencfel