DOI Artikel:
Olszewska, Anna: Zofia Ameisenowa (1897 - 1967)
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.16827#0109
102
ANNA Ol s/i w SK \
ABSTRAC1
I lus article introduces the Polish art historian, Zofia Ameisenowa < 1897 1967). 11er excellent working methodolog) became the
iiKHlel study of illuminated manuscripts for many contemporary art historians. The priorit) oi Ameisenowa's research was to create a
libran understood not as a catalogue, not as an actual institution, bul as an en\ ironment proper to the circulation of images and ideas.
11er publications сап Ье \ iewed as part of the method for realizing tins global project. I he mainstream work of the Polish scholar nad
.i 'positivist' dimension, and ner research system grew from traditional connoisseurship supported by the then most up to date know-
ledge in the field ofbook studies. Ameisenowa was inspired by scholars such as Giovanni Morelli and Richard ot'tner. exponents of
the first \ icnna School ofArt History, and Polish bibliologists hke Kazimier/ Piekarski and Aleksander Birkenmajer.
The nature of Ameisenowa's research suggests that she not so much practised the history of ideas, but the social history ot'art
directed at the question of the fonction of the w ork of art and the historical usus of dissémination, copying, and image reconstruction
in culture. Because of thèse interests. she had more in common with the matter -of-fact iconograph) practised by Emile Mâle than with
the spectacular iconology of Erwin Panofsky, and any cléments of iconological interprétation, ifthey oceur, were for her an intellectual
adventure, the prize for the free use ofcarefully extracted facts. Whether she was examining the tree of life motif, the Hebrew bestiar-
ies. or the deities with animal heads, she did so in order to bridge the gap in knowledge on the transmission of Visual motifs from the
ancient world to Christian Europe, which she did through finding the forgotten Semitic component. It is worth noting that a separate
area of interest for the scholar was Jcwish art.
(translated by Katarzyna Krzyżagórska-Pisarek)
ANNA Ol s/i w SK \
ABSTRAC1
I lus article introduces the Polish art historian, Zofia Ameisenowa < 1897 1967). 11er excellent working methodolog) became the
iiKHlel study of illuminated manuscripts for many contemporary art historians. The priorit) oi Ameisenowa's research was to create a
libran understood not as a catalogue, not as an actual institution, bul as an en\ ironment proper to the circulation of images and ideas.
11er publications сап Ье \ iewed as part of the method for realizing tins global project. I he mainstream work of the Polish scholar nad
.i 'positivist' dimension, and ner research system grew from traditional connoisseurship supported by the then most up to date know-
ledge in the field ofbook studies. Ameisenowa was inspired by scholars such as Giovanni Morelli and Richard ot'tner. exponents of
the first \ icnna School ofArt History, and Polish bibliologists hke Kazimier/ Piekarski and Aleksander Birkenmajer.
The nature of Ameisenowa's research suggests that she not so much practised the history of ideas, but the social history ot'art
directed at the question of the fonction of the w ork of art and the historical usus of dissémination, copying, and image reconstruction
in culture. Because of thèse interests. she had more in common with the matter -of-fact iconograph) practised by Emile Mâle than with
the spectacular iconology of Erwin Panofsky, and any cléments of iconological interprétation, ifthey oceur, were for her an intellectual
adventure, the prize for the free use ofcarefully extracted facts. Whether she was examining the tree of life motif, the Hebrew bestiar-
ies. or the deities with animal heads, she did so in order to bridge the gap in knowledge on the transmission of Visual motifs from the
ancient world to Christian Europe, which she did through finding the forgotten Semitic component. It is worth noting that a separate
area of interest for the scholar was Jcwish art.
(translated by Katarzyna Krzyżagórska-Pisarek)