DOI issue:
Editor's note
DOI Page / Citation link: https://doi.org/10.11588/diglit.31061#0011
Editors Notę
The present, seventh, volume of Rozprawy Muzeum Narodowego w Krakowie (Papers
of the National Museum in Kraków) brings diverse materiał yielded by art research in
the broad sense of the term. A majority of it relates to the rich collections of our Museum,
which celebarted its 135th anniversary in 2014. Two of the other texts are devoted to ob-
jects from the Czartoryski collection, which was administered by the National Museum as
one of its departments in 1950-1991.
The volume opens with Tluee Greek Engraved Gold Finger Rings from the Konstanty
Schmidt-Ciążyński Collection at the National Museum in Kraków (1818-1889). The au-
thor, Paweł Gołyźniak, takes another effort to analyse the indecisively dated and vaguely
interpreted objects in one of the most yaluable acąuisitions in the history of our Museum.
Joined actively by the directors and curators of the National Museum, the heated
discussion over conceptions for the revitalisation of the Wawel Hill before and after
the site was left by the Austrian garrison in 1905 is the subject of an article by Kamila
Podniesińska, which focuses specihcally on the Procession to Wawel Hill, a much-hyped
sculptural rendition of Polands history presented by Wacław Szymanowski (1859-1930)
in 1911 as a model which, however, was never executed full-scale. This is an opening arti-
cle in a series on the art of the age of Symbolism, which also includes papers on the paint-
ers Włodzimierz Błocki (1885-1920) and Marian Wawrzeniecki (1863-1943). The former
lived in Lvov, was educated at the Kraków Academy of Fine Arts, appreciated by critics,
popular with audiences during his lifetime but completely forgotten after his premature
death. Jolanta Bobalas text is the first this ambitious attempt to tracę Błockis artistic path
based on his scant surviving output. Janusz Zagrodzki (Art and Art Criticism in Poland,
or Witch Tortures. Marian Wawrzeniecki (1863-1943)) took on the task of challenging
the widespread opinion on the art of Wawrzeniecki as merely obscene celebrations of
sadism. The author finds in them a protest against totalitarian “thought control” and in
defence of independence and freedom of art, in which nudity is understood as a symbol
of innocence and a distinctive mark of a victim. The starting point for Joanna Regina
Kowalskas and Jan Jakub Dreściks reflections are clothes or clothing accessories. How-
ever, the method, research perspective and issues raised by the authors are much broader
that those we habitually associate with fashion studies. The ńrst of the two papers (Laces
Inspired by the Art of Podhale. The National School of Lacemaking in Zakopane and Its Im-
pact on Fashion in the First Half Century oflts Existence) looks at the mutual inspiration
between haute couture and the ethnographically systematised folk tradition. In the other
one, On Sveral Court Memorabilia at the Princes Czartoryski Museum in Kraków, a pres-
entation of some military dresses from the Warsaw court of tsar Nicholas I (which are in
the collection of the Princes Czartoryskis Museum and were used as props by Jan Matejko
for the painting Rejtan) unfolds into an exciting study of transformation in the collective
consciousness of the Polish aristocracy over the first thirty years of the 19th century.
The present, seventh, volume of Rozprawy Muzeum Narodowego w Krakowie (Papers
of the National Museum in Kraków) brings diverse materiał yielded by art research in
the broad sense of the term. A majority of it relates to the rich collections of our Museum,
which celebarted its 135th anniversary in 2014. Two of the other texts are devoted to ob-
jects from the Czartoryski collection, which was administered by the National Museum as
one of its departments in 1950-1991.
The volume opens with Tluee Greek Engraved Gold Finger Rings from the Konstanty
Schmidt-Ciążyński Collection at the National Museum in Kraków (1818-1889). The au-
thor, Paweł Gołyźniak, takes another effort to analyse the indecisively dated and vaguely
interpreted objects in one of the most yaluable acąuisitions in the history of our Museum.
Joined actively by the directors and curators of the National Museum, the heated
discussion over conceptions for the revitalisation of the Wawel Hill before and after
the site was left by the Austrian garrison in 1905 is the subject of an article by Kamila
Podniesińska, which focuses specihcally on the Procession to Wawel Hill, a much-hyped
sculptural rendition of Polands history presented by Wacław Szymanowski (1859-1930)
in 1911 as a model which, however, was never executed full-scale. This is an opening arti-
cle in a series on the art of the age of Symbolism, which also includes papers on the paint-
ers Włodzimierz Błocki (1885-1920) and Marian Wawrzeniecki (1863-1943). The former
lived in Lvov, was educated at the Kraków Academy of Fine Arts, appreciated by critics,
popular with audiences during his lifetime but completely forgotten after his premature
death. Jolanta Bobalas text is the first this ambitious attempt to tracę Błockis artistic path
based on his scant surviving output. Janusz Zagrodzki (Art and Art Criticism in Poland,
or Witch Tortures. Marian Wawrzeniecki (1863-1943)) took on the task of challenging
the widespread opinion on the art of Wawrzeniecki as merely obscene celebrations of
sadism. The author finds in them a protest against totalitarian “thought control” and in
defence of independence and freedom of art, in which nudity is understood as a symbol
of innocence and a distinctive mark of a victim. The starting point for Joanna Regina
Kowalskas and Jan Jakub Dreściks reflections are clothes or clothing accessories. How-
ever, the method, research perspective and issues raised by the authors are much broader
that those we habitually associate with fashion studies. The ńrst of the two papers (Laces
Inspired by the Art of Podhale. The National School of Lacemaking in Zakopane and Its Im-
pact on Fashion in the First Half Century oflts Existence) looks at the mutual inspiration
between haute couture and the ethnographically systematised folk tradition. In the other
one, On Sveral Court Memorabilia at the Princes Czartoryski Museum in Kraków, a pres-
entation of some military dresses from the Warsaw court of tsar Nicholas I (which are in
the collection of the Princes Czartoryskis Museum and were used as props by Jan Matejko
for the painting Rejtan) unfolds into an exciting study of transformation in the collective
consciousness of the Polish aristocracy over the first thirty years of the 19th century.