pl-54 | QUART

Pismo współfinansowane przez
Wydział Nauk Historycznych
i Pedagogicznych
Uniwersytetu Wrocławskiego

Numer 4(54)/2019

Editorial

Autumn “Quart” starts a series of thematic issues of our quarterly, the preparation of which is also planned for the whole year 2020. I will not reveal the topics of subsequent editions for now though – it is enough to say that they will be related to specific fields, epochs and forms of existence and functioning of art and art history, presented in the light of the latest research connected with our discipline. The first part of this series was dedicated to the 19th century. The article by Magdalena Bartnikowska-Biernat presents it through the prism of the still little-known sculptural activity of the famous at that time poet Teofil Lenartowicz. Mariusz Bryl, in turn, reveals in his text the secrets and literary sources of the illustration works of Artur Grottger himself. Leaving aside for a moment the domestic affairs, I also recommend the proposition of Dawid Głownia, who discusses how exotic for us the problem of using a magic lantern in 19th century Japan. The links between art and technology are continued in reflections on the achievements of the graphic artist and painter Konstanty Brandel (Adrianna Kaczmarek). The figure of Lenartowicz returns again – this time in an attempt to reconstruct the “artistic technique” of the “Mazovian lyricist”, as he was then called, who was active not only in poetry but also in visual arts. My modest participation in the 54th issue of “Quart” concerns the relationship between the cult and myth of “three bards”, which functioned in Poland in the 19th century. (Adam Mickiewicz, Juliusz Słowacki, Zygmunt Krasiński) and the works of Henryk Siemiradzki, the most eminent Polish academic painter. The discussion on the beginnings of the professionalisation of the art market in Poland (Ewa Skotniczna) is aimed at enriching the image of this era. We also recall, the figure, somewhat forgotten today, of a historian, but also a painter connected with the Lviv milieu – Szczęsny Morawski (Agnieszka Świętosławska). The whole autumn “Quart” ends with my review of the exhibition organized by the Wrocław Contemporary Museum, which focuses on Polish hospitality, presented through the critical prism of contemporary art. Even this brief listing of the articles reveals that the latest issue of “Quart” touches on many thematic areas of the epoch, the echoes of which continue to this day in the form of works of art created at that time and artistic myths and toposes preserved in social memory. It remains for me, as always, to invite you to read and wish you to discover the reviving sources of our discipline – because its origins and methods are largely located in the “beautiful 19th century”. On behalf of the Editors Prof. Dr. Hab. Waldemar Okoń

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