DOI Heft:
Nekrologi
DOI Heft:Ziętkiewicz-Kotz, Joanna: Kronika Historii Sztuki Polskiej Akademii Umiejętności za rok 2015
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.32786#0139
139
ii VI dr Michał Myśliński, Fusiery, partacze, przeszkodni-
cy... Dzieła złotnicze mosiężników krakowskich jako przy-
kład konwergencji dwóch profesji rzemiosła artystycznego
w XIX wieku
Tekst opublikowany w: „Kwartalnik Historii Kultury Ma-
terialnej”, 3, 2015, s. 471-494.
15 X prof. dr hab. Albert Boesten-Stengel, Drawing pro-
cess,forces and motion in Leonardos Battle ofAnghiari
In 1505 or 1506 the painter Leonardo da Vinci abandoned
his project of the Battle of Anghiari which should depict
the historical victory in 1440 of Florence over Milan. The
perhaps up to 1550 visible traces of the only begun wall
painting were destroyed or covered when Giorgio Va-
sari and his collaborators enlarged and restructured the
once Sala del Consiglio of the Florentine Republic. Be-
side a small number of original preparative sketches and
a larger number of more or less contemporary copies
after the believed central part of the composition, the so
called Lottaper lo Stendardo (Fight for the Standard), we
know Giorgio Vasaris description (1550) of the group of
horsemen, un groppo di cavalli, referring perhaps to his
apperception of an original cartoon or an at least partly
coloured copy (see the detail of the soldato vecchio con un
berretton rosso (“old soldier in the red cap”). Vasari does
not identify here any protagonist of the historical event,
but in the eyes of recent interpreters the scene becomes
the confrontation of two Milanese horsemen on the left
and two Florentine on the right.
Observations on Leonardos method of projecting al-
low a new approach. Materially the inquiry concerns four
small original drawing-sheets in the collection of the
Gallerie dellAccademia in Venice and certain copies. In
the clearly distributed or confusingly meshed graphical
objects, genetic criticism has to recognize coexisting vari-
ants, alternatives and phases of coherent or heterogeneous
subject matters. The loose texture of curved or straight
strokes is enough to evoke the articulation of corporal
limbs in living beings, their turns, bends and extensions,
“li versi e piegamenti e distendimenti delle loro mem-
bra” (Leonardo), demonstrating the direction, course
and intensity of single or combined movements. Genetic
criticism describes the step by step changes in the draw-
ing process. It finally recognizes, that not the aggression
from the right horsemen, but only the action of the “old
soldier” represents the causa effciens of the extreme left
horsemans unfortunately twisted posture. Galloping from
right to left, he was first holding the statf of the standard
like a lance directed to the left. The counterattacking “old
soldier”, coming from the left side and evading the mortal
thrust, grips the enemys standard and turns it in the op-
posite direction. In sense of Aristotelian Physics we could
study here the cumulative force of two opposed move-
ments. The draughtsmans turning around of the “old sol-
dier s” central horse produces mimetically the victorious
“turn” in the battle, Aristotles “change from bad fortune
to good, or from good fortune to bad” in Poetics, 1451a.
12 XI dr Wojciech Walanus, Z dziejów fotograficznej
dokumentacji polskiego dziedzictwa kulturowego: kampa-
nie inwentaryzacyjne Adolfa Szyszko-Bohusza i Stefana
Zaborowskiego
Tekst opublikowany w niniejszym tomie, s. 67-98.
10 XII prof. dr hab. Jan K. Ostrowski, Od rycerskich
znaków do naturalistycznego odwzorowania. Nietypowe
metody upamiętniania zmarłych w średniowiecznej i no-
wożytnej Europie
Tekst opublikowany jako:
Od pars pro toto do naturalistycznego odwzorowania.
Nietypowe metody upamiętniania zmarłych w średnio-
wiecznej i nowożytnej Europie, [w:] Mnemosyne. Pamięć
jako źródło dzieła sztuki, red. M. Cieśla-Korytowska,
J. Czernik, Kraków 2016, s. 55-83.
opracowała Joanna Ziętkiewicz-Kotz
ii VI dr Michał Myśliński, Fusiery, partacze, przeszkodni-
cy... Dzieła złotnicze mosiężników krakowskich jako przy-
kład konwergencji dwóch profesji rzemiosła artystycznego
w XIX wieku
Tekst opublikowany w: „Kwartalnik Historii Kultury Ma-
terialnej”, 3, 2015, s. 471-494.
15 X prof. dr hab. Albert Boesten-Stengel, Drawing pro-
cess,forces and motion in Leonardos Battle ofAnghiari
In 1505 or 1506 the painter Leonardo da Vinci abandoned
his project of the Battle of Anghiari which should depict
the historical victory in 1440 of Florence over Milan. The
perhaps up to 1550 visible traces of the only begun wall
painting were destroyed or covered when Giorgio Va-
sari and his collaborators enlarged and restructured the
once Sala del Consiglio of the Florentine Republic. Be-
side a small number of original preparative sketches and
a larger number of more or less contemporary copies
after the believed central part of the composition, the so
called Lottaper lo Stendardo (Fight for the Standard), we
know Giorgio Vasaris description (1550) of the group of
horsemen, un groppo di cavalli, referring perhaps to his
apperception of an original cartoon or an at least partly
coloured copy (see the detail of the soldato vecchio con un
berretton rosso (“old soldier in the red cap”). Vasari does
not identify here any protagonist of the historical event,
but in the eyes of recent interpreters the scene becomes
the confrontation of two Milanese horsemen on the left
and two Florentine on the right.
Observations on Leonardos method of projecting al-
low a new approach. Materially the inquiry concerns four
small original drawing-sheets in the collection of the
Gallerie dellAccademia in Venice and certain copies. In
the clearly distributed or confusingly meshed graphical
objects, genetic criticism has to recognize coexisting vari-
ants, alternatives and phases of coherent or heterogeneous
subject matters. The loose texture of curved or straight
strokes is enough to evoke the articulation of corporal
limbs in living beings, their turns, bends and extensions,
“li versi e piegamenti e distendimenti delle loro mem-
bra” (Leonardo), demonstrating the direction, course
and intensity of single or combined movements. Genetic
criticism describes the step by step changes in the draw-
ing process. It finally recognizes, that not the aggression
from the right horsemen, but only the action of the “old
soldier” represents the causa effciens of the extreme left
horsemans unfortunately twisted posture. Galloping from
right to left, he was first holding the statf of the standard
like a lance directed to the left. The counterattacking “old
soldier”, coming from the left side and evading the mortal
thrust, grips the enemys standard and turns it in the op-
posite direction. In sense of Aristotelian Physics we could
study here the cumulative force of two opposed move-
ments. The draughtsmans turning around of the “old sol-
dier s” central horse produces mimetically the victorious
“turn” in the battle, Aristotles “change from bad fortune
to good, or from good fortune to bad” in Poetics, 1451a.
12 XI dr Wojciech Walanus, Z dziejów fotograficznej
dokumentacji polskiego dziedzictwa kulturowego: kampa-
nie inwentaryzacyjne Adolfa Szyszko-Bohusza i Stefana
Zaborowskiego
Tekst opublikowany w niniejszym tomie, s. 67-98.
10 XII prof. dr hab. Jan K. Ostrowski, Od rycerskich
znaków do naturalistycznego odwzorowania. Nietypowe
metody upamiętniania zmarłych w średniowiecznej i no-
wożytnej Europie
Tekst opublikowany jako:
Od pars pro toto do naturalistycznego odwzorowania.
Nietypowe metody upamiętniania zmarłych w średnio-
wiecznej i nowożytnej Europie, [w:] Mnemosyne. Pamięć
jako źródło dzieła sztuki, red. M. Cieśla-Korytowska,
J. Czernik, Kraków 2016, s. 55-83.
opracowała Joanna Ziętkiewicz-Kotz