DOI Heft:
Nr. 3-4
DOI Artikel:Guze, Justyna: [Preface]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18945#0101
Bulletin du Musée National de Varsovie has previously devoted its columns
to significant exhibitions, which have been accompanied not only by
catalogues, but by academic conferences as well, e.g. The Birth of Modern
Landscape Fainting 1550-1650 in 1972. Such is the case with the present
double issue, which is completely devoted to the problems of various trends of
Caravaggism elaborated in the conference Various Aspects of Caravaggism,
which brought Polish and foreign art historians to the National Museum in
Warsaw on October 14, 1996. The impetus was the exhibition organized by
the Museum from September 15 until October 15, 1996. The exhibition was
prepared by the Department of European Art under the direction of its curator
Antoni Ziemba and Joanna Kilian. It was centered on the Deposition loaned by
the Vatican Museums, as well as other works by Italian, French, Spanish,
Dutch, and German painters from the Polish collections and two other
paintings from the Vatican Museum, aiming to present the complex richness of
the phenomenon in art history known as Caravaggism. In recent years this
problematic has been the subject of several exhibition catalogues and scholarly
essays. The authors of the Polish exhibition acknowledged the fruitful and
useful summaries of certain problems as well as the new research issues and
discoveries inspired by the Museum’s exhibition during the one-day conference
organized by Maciej Monkiewicz. Bulletin du Musée National de Varsovie
opened its pages for the publication of the material from the conference, both
those anticipated by the conference program as well as those presented in
discussion. An exception is Adam Kilian’s essay devoted to his set design for the
exhibition. Kilian is one of Poland’s most distinguished stage designers; since
the exhibition he prepared was so unusual and extraordinary in the tradition
of museum design, we asked him to detail the circumstances in which he
conceived and prepared it, seeking in this way to immortalize something which
by its nature is transitory.
With the publication of issue n° 3-4 in 1995, the design of our periodical has
changed; after publishing two double issues for the years 1995 and 1996, we
have decided to remain with this new form for our publication, which has been
issued for more than thirty years.
We hope that both the form and the content of this double issue of Bulletin
du Musée National de Varsovie will elicit the interest and enthusiasm of our readers.
Justyna Guze
91
to significant exhibitions, which have been accompanied not only by
catalogues, but by academic conferences as well, e.g. The Birth of Modern
Landscape Fainting 1550-1650 in 1972. Such is the case with the present
double issue, which is completely devoted to the problems of various trends of
Caravaggism elaborated in the conference Various Aspects of Caravaggism,
which brought Polish and foreign art historians to the National Museum in
Warsaw on October 14, 1996. The impetus was the exhibition organized by
the Museum from September 15 until October 15, 1996. The exhibition was
prepared by the Department of European Art under the direction of its curator
Antoni Ziemba and Joanna Kilian. It was centered on the Deposition loaned by
the Vatican Museums, as well as other works by Italian, French, Spanish,
Dutch, and German painters from the Polish collections and two other
paintings from the Vatican Museum, aiming to present the complex richness of
the phenomenon in art history known as Caravaggism. In recent years this
problematic has been the subject of several exhibition catalogues and scholarly
essays. The authors of the Polish exhibition acknowledged the fruitful and
useful summaries of certain problems as well as the new research issues and
discoveries inspired by the Museum’s exhibition during the one-day conference
organized by Maciej Monkiewicz. Bulletin du Musée National de Varsovie
opened its pages for the publication of the material from the conference, both
those anticipated by the conference program as well as those presented in
discussion. An exception is Adam Kilian’s essay devoted to his set design for the
exhibition. Kilian is one of Poland’s most distinguished stage designers; since
the exhibition he prepared was so unusual and extraordinary in the tradition
of museum design, we asked him to detail the circumstances in which he
conceived and prepared it, seeking in this way to immortalize something which
by its nature is transitory.
With the publication of issue n° 3-4 in 1995, the design of our periodical has
changed; after publishing two double issues for the years 1995 and 1996, we
have decided to remain with this new form for our publication, which has been
issued for more than thirty years.
We hope that both the form and the content of this double issue of Bulletin
du Musée National de Varsovie will elicit the interest and enthusiasm of our readers.
Justyna Guze
91