DOI Page / Citation link:
https://doi.org/10.11588/diglit.31381#0010
8
FROM THE EDITOR
The Catalogue consists of three volumes. Volume 1 covers the 19th century, Volume
2 — the period from around 1890 to 1945, and Volume 3 — the contemporary times,
since 1945 up till now.
It is obvious that the creative output of many artists crossed those
arbitrary borderlines. Having accepted the rule that the creation of one author
should not be split between volumes, we place his or her entire oeuvre
in this volume which covers the artist’s most important and most characteristic
creative period. Thus, for instance, the paintings by Jacek Malczewski, Leon Wyczol-
kowski and Olga Boznanska have been placed exclusively in Volume 2, even
though some of them were painted earlier in the 19th c. Similarly, some works
of Zbigniew Pronaszko or Konrad Winkler, though executed after World War II,
belong to Volume 2, while the paintings of colourists created before 1945 have
been placed in Volume 3.
The Catalogue, within the scope of each volume, has been arranged
alphabetically, according to painters’ names, with their creative output shown in the
chronological order. The last positions in the Catalogue are occupied by the works of
unknown artists and by collective works.
The information concerning particular authors contains their short
biography together with a concise characteristics of their creation, useful especially in the
case of less familiar artists.
The catalogue note for each work covers only the basic data, without
its participation in exhibitions and without bibliography, since the majority of the
most outstanding works has already received a broader treatment in the mono-
graphic catalogues of particular artists. Consequently, our note comprises: the title
and its versions found in the literature, the date of creation (the dates proposed
by the Catalogue’s authors appear in square brackets), the technique and material
on which the picture was executed and its size in centimetres, without frames.
The subsequent information contains the faithfully rendered signature of the author,
all dedications and inscriptions (if present), including inscriptions — most often
authorial — on the reverse (the content of labels on the reverses has not been inclu-
ded in the note). Apart from the current inventory numbers of the Department we
quote also the previous numbers taken from older catalogues of the Museum, for
the authors of older publications refer to the latter. The note closes with the information
about the procedure and time of acquiring the painting by the Museum, without
providing its full history.
Several notes have been appended with glosses which contain data on
the persons portrayed, historical scenes, literary inspirations, sketches, etc.
The Catalogue has received an important supplement in the form of two
indexes: of the Persons Portrayed, including also the painters’ self-portraits, and of the
Donors, whose generosity has influenced the variety and character of the collections
gathered in the Museum.
FROM THE EDITOR
The Catalogue consists of three volumes. Volume 1 covers the 19th century, Volume
2 — the period from around 1890 to 1945, and Volume 3 — the contemporary times,
since 1945 up till now.
It is obvious that the creative output of many artists crossed those
arbitrary borderlines. Having accepted the rule that the creation of one author
should not be split between volumes, we place his or her entire oeuvre
in this volume which covers the artist’s most important and most characteristic
creative period. Thus, for instance, the paintings by Jacek Malczewski, Leon Wyczol-
kowski and Olga Boznanska have been placed exclusively in Volume 2, even
though some of them were painted earlier in the 19th c. Similarly, some works
of Zbigniew Pronaszko or Konrad Winkler, though executed after World War II,
belong to Volume 2, while the paintings of colourists created before 1945 have
been placed in Volume 3.
The Catalogue, within the scope of each volume, has been arranged
alphabetically, according to painters’ names, with their creative output shown in the
chronological order. The last positions in the Catalogue are occupied by the works of
unknown artists and by collective works.
The information concerning particular authors contains their short
biography together with a concise characteristics of their creation, useful especially in the
case of less familiar artists.
The catalogue note for each work covers only the basic data, without
its participation in exhibitions and without bibliography, since the majority of the
most outstanding works has already received a broader treatment in the mono-
graphic catalogues of particular artists. Consequently, our note comprises: the title
and its versions found in the literature, the date of creation (the dates proposed
by the Catalogue’s authors appear in square brackets), the technique and material
on which the picture was executed and its size in centimetres, without frames.
The subsequent information contains the faithfully rendered signature of the author,
all dedications and inscriptions (if present), including inscriptions — most often
authorial — on the reverse (the content of labels on the reverses has not been inclu-
ded in the note). Apart from the current inventory numbers of the Department we
quote also the previous numbers taken from older catalogues of the Museum, for
the authors of older publications refer to the latter. The note closes with the information
about the procedure and time of acquiring the painting by the Museum, without
providing its full history.
Several notes have been appended with glosses which contain data on
the persons portrayed, historical scenes, literary inspirations, sketches, etc.
The Catalogue has received an important supplement in the form of two
indexes: of the Persons Portrayed, including also the painters’ self-portraits, and of the
Donors, whose generosity has influenced the variety and character of the collections
gathered in the Museum.