In the golden years of the baroque era, Poland expressed creative ties to East and West in extraordinary works of fine and decorative art. This illustrated book displays more than 150 pieces that celebrate the cross-cultural richness of Poland's creative output during this period. From the dramatic uniform of the winged hussar complete with feathered wings and leopard skin to traditional portraits of royalty to a Turkish-style beverage service, these splendid objects represent Poland's diversity and breadth at a time when it was the largest land empire in Europe, stretching from the Baltic to the Black Sea. This book is the catalogue for a major exhibition at The Walters Art Gallery in Baltimore. The Art Institute of Chicago, Huntsville Museum of Art. The San Diego Museum of Art. The Philbrook Museum of Art, and the Royal Castle in Warsaw.
This monograph serves as an introduction to the art, architecture and literary culture of the Eastern Polish-Lithuanian Commonwealth in the 16th and 17th centuries. The geographical area under discussion comprises the regions of contemporary Lithuania, western Belarus and western Ukraine. The introduction of the Renaissance and Baroque classical revival into these lands is considered here within the political context of nationalistic and religious loyalties, as well as economic status and class. The central discussion focuses on the issue of national identity and religious loyalty in the inter-relation between the Byzantine inheritance of the Lithuanian and Ruthenian populace and the Polonizing Catholic influences entering from the west. A close study is made of the royal, noble and urban patronage of the richly-diverse visual and literary modes developed in these two centuries, as well as examining the cultural achievements of the many national groups in the Eastern Commonwealth, including Ruthenians, Lithuanians, Poles, Armenians, Jews, Karaite and Islamic Tatars. A major issue explored here is the problem of restoring and conserving the vast amount of devastated material culture in these regions, particularly in Belarus.
The study of funeral monuments is a growing field, but monuments erected to commemorate children have so far received little attention. Whilst the practice of erecting monuments to the dead was widespread across Renaissance Europe, the vast majority of these commemorated adults, with children generally only appearing as part of their parents' memorials. However, as this study reveals, in Poland there developed a very different tradition of funerary monuments designed for, and dedicated to, individual children - daughters as well as sons. The book consists of five major parts, which could be read in any order, though the overall sequencing is based on the premise that an understanding of the context and background will enhance a reading of these fascinating child monuments. Consequently, there is a progression of knowledge presented from the broader context of the earlier parts, towards the final parts where the actual child monuments are discussed in detail. Thus the book begins with an overview of the wider cultural contexts of funerary monuments and where children fitted into this. It then moves on to to look at the 'forgotten Renaissance' of central Europe and specifically the situation in Poland. The middle part addresses the 'culture of memory', examining the role of funerary monuments in reinforcing social, religious and familial continuity. The last parts deal with the physical monuments: empirical data, iconography and iconology. Through this illuminating consideration of children's monuments, the book raises a host of fascinating questions relating to Polish social and cultural life, family structure, attitudes to children and gender. It also addresses the issue of why Poland witnessed this unusual development, and what this tells us about the transmission of cultural and artistic ideas across Renaissance Europe. Drawing upon social and cultural history, visual and gender studies, the work not only asks important new questions, but provides a fresh perspective on some familiar topics and themes within Renaissance history.
This is a single-volume history of Christianity in Poland, a subject at the core of religious history and European secular history alike. The book covers the development of Polish Christianity from the tenth century to the year 2000, placing it in the broader context of East-Central European political, social, religious and cultural history. Jewish-Christian relations, and the problematic religious history of the Jews in the region, play an important part in the story, and there are pervasive references to countries historically linked to Poland, such as Lithuania, Belarus and the Ukraine. Jerzy Kloczowski shows how the history of Poland, and Polish Christianity, are embedded in the complex systems of relations with other countries and religious denominations. A History of Polish Christianity should be read by anyone interested in the confrontation between Christianity and the totalitarian systems of the twentieth century, and in the interplay between Eastern and Western Christianity.
The historiography of death, memory, and testamentary practices is already abundant in Western Europe and a fairly large number of extra-European regions. For East-Central Europe there are many short studies in various regional languages, mainly on anthropological/ethnographic aspects of the funeral rituals. This is an edited collection of studies by international scholars on the interlocking themes of attitudes and discourses on death, commemorative practices, and inheritance/testamentary strategies in the Balkans and East-Central Europe. These and other related themes are addressed comparatively and cover areas including Albania, Bulgaria, Romania, Greece, and areas of the former Yugoslavia, Hungary, and Austria from the perspective of imperial – Ottoman and Habsburg – legacies. Pro refrigerio animae: Death and Memory in East-Central Europe contributes to this subject by: linking anthropological/religious/cultural approaches to death to the legal/economic aspects of inheritance/commemoration; adding a still absent East-Central European and Habsburg, Balkan, and Ottoman dimension to the study of death, memorialization, and testaments; and presenting an abundant primary and secondary material in English translation and thus placing research on death and testaments by East-Central and Greek scholars within the international scholarly circuit.
While far fewer studies on women and gender have been published in Poland than in the West, the last decade has seen growing interest in gender history among Polish scholars. The first general history of Polish women in the early modern times was published by Dr. Bogucka in Polish in 1998; the present study constitutes an expansion, as well as a translation into English, of that seminal work. Women in Early Modern Polish Society, against the European Background makes widely available to historians and women's studies scholars in the West a mass of information about women in Poland from the 16th to the 18th century, previously inaccessible in Polish archives. In the preface, Bogucka points to the need for theoretical reflection within Polish studies of women's history, and the need to develop standard concepts and terms for the study of gender, to allow this research to develop further. She emphasizes that scholars of women's history must rely on all documents of a given epoch if they want to examine women's lives. Urban and rural records (especially law court records), church archives, private archives, diaries, noblemen's records, collections of sermons, last wills, inventories, belles letters, correspondence, are all sources which always contain scattered direct or indirect information on women and gender relations. Bogucka examines the stages of the typical woman's life-girl, married woman, widow-discussing their position in the family and society, as well as the societal changes that occurred in this sphere from the sixteenth to the eighteenth century. She also looks, among other things, at the role of women's work in the countryside and in towns according to social status and education; religious life, which offered possibilities to women to appear and to act outside the home; the impact of Reformation on the situation of women; the participation of women in the creation and consumption of culture; and women's roles in political life. Finally, she places her discussion of Polish women in comparative context, exploring the legal status and general situation of women in Poland against those in Western countries - Germany, France and England - as well as Central and Eastern Europe-Hungary, Bohemia, and Russia.
"This bibliography supplements the greatest of modern art bibliographies, Etta Arntzen and Robert Rainwater's Guide to the literature of art history (ALA, 1980)"--Preface.
Now appearing in an English translation, this book by Szymon Paczkowski is the first in-depth exploration of the Polish style in the music of Johann Sebastian Bach. Bach spent almost thirty years living and working in Leipzig in Saxony, a country ruled by Friedrich August I and his son Friedrich August II, who were also kings of Poland (as August II and August III). This period of close Polish-Saxon relations left a significant imprint on Bach’s music. Paczkowski’s meticulous account of this complex political and cultural dynamic sheds new light on many of Bach’s familiar pieces. The book explores the semantic and rhetorical functions that undergird the symbolism of the Polish style in Baroque music. It demonstrates how the notion of a Polish style in music was developed in German music theory, and conjectures that Bach’s successful application for the title of Court Composer at the court of the Elector of Saxony and King of Poland would induce the composer to deliberately use elements of the Polish style. This comprehensive study of the way Bach used the Polish style in his music moves beyond technical analysis to place the pieces within the context of Baroque customs and discourse. This ambitious and inspiring study is an original contribution to the scholarly conversation concerning Bach’s music, focusing on the symbolism of the polonaise, the most popular and recognizable Polish dance in 18th-century Saxony. In Saxony at this time the polonaise was associated with the ceremonies of the royal-electoral court in Dresden, and Saxon musicians regarded it as a musical symbol of royalty. Paczkowski explores this symbolism of the Polish royal dance in Bach’s instrumental music and, which is also to be found to an even greater extent, in his vocal works. The Polish Style in the Music of Johann Sebastian Bach provides wide-ranging interpretations based on a careful analysis of the sources explored within historical and theological context. The book is a valuable source for both teaching and further research, and will find readers not only among musicologists, but also historians, art historians, and readers in cultural studies. All lovers of Bach’s music will appreciate this lucid and intriguing study.
Aleksander Wat was, in many ways, the archetypal Central European intellectual of the mid-twentieth century, a man who experienced and influenced all the tumultuous political and artistic movements of his time. Yet little has been published about him, even in his native Poland. This book is the first account of Wat's turbulent life, accompanied by a thorough analysis of his extraordinary poems and prose works in their diverse periods and genres. Tomas Venclova, himself a poet of international renown, has uncovered numerous new biographical details, made the surprising discovery of an unfinished novel Wat began fifty years ago, and woven together the themes of Wat's life and work. At different times a futurist, surrealist, and Communist fellow traveler, Wat turned away from communism after his imprisonment by the Soviet secret police and became a vociferous spokesman for democracy. Venclova tells Wat's story from his Polish-Jewish upbringing in the early 1900s, his participation in the literary avant-garde in the 1920s, and his work as editor of an influential Communist journal before World War II through his emigration to the West in 1959 and his death in 1967. Venclova argues convincingly that Wat's literary achievement promoted the rejuvenation of Polish and East European letters after the Stalinist era. His broad intellectual influence on many, including Czeslaw Milosz, helped to consolidate the moral and political opposition to totalitarian ideology that has profoundly changed political realities in the late twentieth century.
