DOI issue:
Artykuły / Articles
DOI article:Żarnowiecka, Jagoda: Seria Katedra Lucjana Mianowskiego w kontekście historyczno-artystycznym - analiza i interpretacja
DOI Page / Citation link: https://doi.org/10.11588/diglit.47327#0127
Seria Katedra Lucjana Mianowskiego w kontekście historyczno-artystycznym - analiza i interpretacja
125
Krakowski P„ Wystawa obrazów: Galeria Krzysztofory. [Katalog wystawy], Kraków 1961.
Le petit Larousse illustre en couleurs, red. I. Jeuge-Maynart, Paris 2007.
Madeyski J„ Grafika Lucjana Mianowskiego, „Projekt” 1962, nr 30, s. 18-21.
Marco A.A. de, The tomb of saint Peter. A representative and annotated bibliography of the excavations,
Leiden 1964, Novum Testamentum, Supplements, t. 8.
Nowicki W., Entropia, [w:] idem, Dno oka. Eseje o fotografii, Wołowiec 2010, s. 159-176.
Peret B„ za: Janicka K., Światopogląd surrealizmu. Jego założenia i konsekwencje dla twórczości i teorii
sztuki, Warszawa 1969, s. 257.
Podniesińska K., Kalendarium życia artysty, wystawy, bibliografia, [w:] Lucjan Mianowski 1933-2009. [Ka-
talog wystawy], red. M. Kołpanowicz, Z. Stankiewicz, Poznań 2011, s. 82-91.
Podniesińska K„ Pokonywanie oporu materii, [w:] Lucjan Mianowski 1933-2009. [Katalog wystawy], red.
M. Kołpanowicz, Z. Starikiewicz, Poznań 2011, s. 5-13.
Porębski M„ Ikonosfera, Warszawa 1972.
Read H., Preface, [w:] S.W. Hayter, New Ways ofGravure, London 1949, s. 15-17.
Skrodzki W., Dostojnicy i Katedry, „Przegląd Artystyczny” 1963, nr 4 (14), s. 51-52.
Skrzynecki P., Co słychać w malarskim Paryżu?, „Echo Krakowa” 1960, nr 168, s. 1, 4.
Stajuda J., Lucjan Mianowski, Warszawa 1964, Współczesna Grafika Polska.
Werner J„ Podstawy technologii malarstwa i grafiki, Warszawa-Kraków 1981.
Wróblewska D., Polska grafika współczesna, Warszawa 1977.
Summary
Lucjan Mianowskie Cathedra! graphic series in the historical
and artistic context - analysis and interpretation
The series Katedra was created by Lucjan Mianowski in 1959-1963, right after the
artist returned to Cracow from his studies in Paris. The series consists of a complex
collection of graphic prints created with the use of the lithographic techniąue and
elements of metal and photographic techniques; each work in the collection is an
autonomous painting.
The present paper attempts to set the series in the historical and artistic context
in a morę profound manner. Due to the lack of written sources related to the series
(including the authors comments) and due to the scarcity of Information resulting
from interviews with other artists, colleagues of Lucjan Mianowski, the research was
mainly and exclusively based on the artists work itself- that is, on his graphic prints
and on matrices that were used to create them. A detailed technological analysis per-
mitted, to a large extent, to reproduce the original complex techniąue of the artist,
where the creative process concerned every stage of creation, including printing.
This article attempts to set these works in the context of artistic, graphics-related
tendencies of the period under consideration, that - until now - have been recog-
nized in a limited way in the research. The works of Mianowski show a relationship
with the method of work close to the artists who use Karol Hiller s experiences in the
125
Krakowski P„ Wystawa obrazów: Galeria Krzysztofory. [Katalog wystawy], Kraków 1961.
Le petit Larousse illustre en couleurs, red. I. Jeuge-Maynart, Paris 2007.
Madeyski J„ Grafika Lucjana Mianowskiego, „Projekt” 1962, nr 30, s. 18-21.
Marco A.A. de, The tomb of saint Peter. A representative and annotated bibliography of the excavations,
Leiden 1964, Novum Testamentum, Supplements, t. 8.
Nowicki W., Entropia, [w:] idem, Dno oka. Eseje o fotografii, Wołowiec 2010, s. 159-176.
Peret B„ za: Janicka K., Światopogląd surrealizmu. Jego założenia i konsekwencje dla twórczości i teorii
sztuki, Warszawa 1969, s. 257.
Podniesińska K., Kalendarium życia artysty, wystawy, bibliografia, [w:] Lucjan Mianowski 1933-2009. [Ka-
talog wystawy], red. M. Kołpanowicz, Z. Stankiewicz, Poznań 2011, s. 82-91.
Podniesińska K„ Pokonywanie oporu materii, [w:] Lucjan Mianowski 1933-2009. [Katalog wystawy], red.
M. Kołpanowicz, Z. Starikiewicz, Poznań 2011, s. 5-13.
Porębski M„ Ikonosfera, Warszawa 1972.
Read H., Preface, [w:] S.W. Hayter, New Ways ofGravure, London 1949, s. 15-17.
Skrodzki W., Dostojnicy i Katedry, „Przegląd Artystyczny” 1963, nr 4 (14), s. 51-52.
Skrzynecki P., Co słychać w malarskim Paryżu?, „Echo Krakowa” 1960, nr 168, s. 1, 4.
Stajuda J., Lucjan Mianowski, Warszawa 1964, Współczesna Grafika Polska.
Werner J„ Podstawy technologii malarstwa i grafiki, Warszawa-Kraków 1981.
Wróblewska D., Polska grafika współczesna, Warszawa 1977.
Summary
Lucjan Mianowskie Cathedra! graphic series in the historical
and artistic context - analysis and interpretation
The series Katedra was created by Lucjan Mianowski in 1959-1963, right after the
artist returned to Cracow from his studies in Paris. The series consists of a complex
collection of graphic prints created with the use of the lithographic techniąue and
elements of metal and photographic techniques; each work in the collection is an
autonomous painting.
The present paper attempts to set the series in the historical and artistic context
in a morę profound manner. Due to the lack of written sources related to the series
(including the authors comments) and due to the scarcity of Information resulting
from interviews with other artists, colleagues of Lucjan Mianowski, the research was
mainly and exclusively based on the artists work itself- that is, on his graphic prints
and on matrices that were used to create them. A detailed technological analysis per-
mitted, to a large extent, to reproduce the original complex techniąue of the artist,
where the creative process concerned every stage of creation, including printing.
This article attempts to set these works in the context of artistic, graphics-related
tendencies of the period under consideration, that - until now - have been recog-
nized in a limited way in the research. The works of Mianowski show a relationship
with the method of work close to the artists who use Karol Hiller s experiences in the