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Michael Willmann
No full textAndrzej Kozieł, Michael Willmann i jego malarska pracownia [Michael Willmann and His Studio], Wrocław 2013 Wydawnictwo Uniwersytetu Wrocławskiego, 872 pp., ISBN: 978-83-229-3356-
Michael Willmann
No full textAndrzej Kozieł, Michael Willmann i jego malarska pracownia [Michael Willmann and His Studio], Wrocław 2013 Wydawnictwo Uniwersytetu Wrocławskiego, 872 pp., ISBN: 978-83-229-3356-
Angelus Silesius Bernhard Rosa and Michael Willmann
No full textAndrzej Kozieł, Angelus Silesius Bernhard Rosa i Michael Willmann, Wrocław 2006 University of Wrocław, 526 pp., ISBN: 83-229-2737-
Nieznane oblicze śląskiego mistrza – Michael Willmann jako pejzażysta
No full textIn the following article its author makes us familiar with a poorly known image of Michael Willmann, who has always recognised as an excellent author of religious paintings, while not appreciated as a landscape painter. Although landscape paintings are rare in the Lubiąż master’s oeuvre, they are very interesting and valuable as they were executed by the artist himself, with only a little help from his workshop collaborators. The article poses a key question about the model of a landscapist represented by the artist from Królewiec, and also confronts the latest research results with the thesis, repeated in literature of the subject, that the Silesian artist attributed his views of nature with features of the regional landscape. The author has considered the period of the artist’s education in the homeland of landscape, namely the Netherlands, and the role of the abbots from the Cistercian monastery in Lubiąż, who were the only ones to commission pictures representing this genre from the Lubiąż atelier. She has also tried to complete the hitherto knowledge about the paintings funded for the refined rooms of the Abbot’s Palace and modern complex of the monastery, and she has made an attempt to discuss the largest set of landscapes which decorate the wooden ceiling of the not-preserved summer abbots’ palace in Moczydlnica Klasztorna. Thanks to the analysis of types of the landscape, relations with graphic patterns and functions of the places where the works were designed for, the specificity of works by Willmann as a landscape painter-decorator, who created painterly elements which served interior arrangement of a representative or recreational character, has emerged
How to exhibit a human mummy in a former monastery? The case of the body of Michael Willmann (1630–1706)
Get PDFThis paper discusses the mummified body of Michael Willmann (1630–1706) – one of the most outstanding painters of the Baroque period in Central Europe. Willmann’s mummy was preserved in the crypt of the former Cistercian monastery church in Lubiąż, Silesia (Poland). The article presents the history of the mummy and possibilities for opening the crypt and displaying it to the public, following the example of similar expositions in Europe which have found respectful and sensitive solutions for presenting the bodies of the deceased (e.g. Capuchin Crypt in Palermo and Capuchin Church in Brno). Willmann’s mummy is not only the body of an artist, but also a part of the cultural heritage of the Lubiąż Cistercians, making it worthy museification. This issue is particularly important in the context of the plans for establishing the Michael Willmann Museum in the former Cistercian monastery church in Lubiąż
Rembrandt van Rijn and Michael Willmann, or a story of dispelling a certain myth
No full textThe article presents a new interpretation of artistic relation between Rembrandt van Rijn and Michael Willmann (1630-1706), the greatest Silesian painter in the age of Baroque, who came for education to Amsterdam around 1650. The author shows how a myth of Willmann as "Silesian Rembrandt" – the pupil and follower of the master of Amsterdam was created in 19th- and 20th-century literature. On the basis of a new reading of the biography of Willmann published by Joachim von Sandrart in 1683 in the Latin edition of "Teutsche Academie der Bau-, Bild- und Mahlerey-Künste" and an analysis of the series of twenty prints by Josef Gregory, carried out in 1794-1795 after Willmann’s drawings – the most probable documentation of the artist's education in Amsterdam – the author tries to revise the myth and reconstruct a real role Rembrandt and his art played not only in the education of Willmann, but also in his later artistic activity (drawings, paintings and etchings). In conclusion the author states, that Willmann did not follow the Rembrandtesque inspirations because the Italian art was an artistic ideal for him. Unfortunately, not having enough money Willmann could not go to Italy to provide full artistic education for himself. It was Willmann’s life defeat and the painter was aware of lacks in his artistic education till the end of his life
Karl Škréta Starszy i Michael Willmann, czyli co się stało w Raciborzu
No full textThis paper discusses relations between two outstanding Central European baroque artists: Karel Škréta the Elder (1610–1674) and Michael Willmann (1630–1706). Both painters were active on the territory of the Bohemian Crown at the same time for almost 20 years. Both painters gained the dominant positions on the field of painting in the neighbouring countries, where they worked: Škréta in Bohemia and Willmann in Silesia. This paper answers the question whether the artists competed with each other or their artistic careers developed independently of each other.
In this context a newly discovered picture Crucifixion of Christ (1670) by Škréta and the picture St. Mary Magdalene (1685) by Willmann are presented. A blind coincidence decided that the paintings by two famous masters were collocated in the same place in two adjacent side altars in the parish church of the Assumption of Mary in Racibórz in such a way as if their authors vied for the palm in the field of painting. It was also a twist of fate that in 1945 both paintings were removed from the altars and – seriously damaged – deposited in the local presbytery. This situation changed after the restoration works in 2005 – although both paintings have not returned to the altars in the church, they have been exhibited in the same room in the presbytery next to each other, as if resuming their rivalry, which was interrupted in 1945
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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