Lidia Gluchowska
University of Zielona Gora, Department of Arts, Faculty Member
- Ph.D. Lidia Głuchowska Head of the Department of History and Theory of Art at the University of Zielona Góra. Lecture... morePh.D. Lidia Głuchowska
Head of the Department of History and Theory of Art at the University of Zielona Góra.
Lectures: History of Painting, History of Print Art, History of Interiors and Furniture, History of Gardens, Body in the Contemporary Culture, History of Architecture .
BA and MA seminaries.
1992-2000 MA studies of Polish Philology and Culture Management as well as Art History, University of Warsaw
2007 – Ph.D. title at the Institute of Art History, Humboldt University in Berlin (summa cum laude)
2002, 2005 – awards of the Society of Polish Art Historians 2008, 2009, 2017, 2018 – awards of the Rector of the University of Zielona Góra
2019 – distinction of the Faculty of Art Printing and Visual Communication, University of Arts, Poznań
1998-2021 – research grants of DAAD, Alfred-Toepfer-Stiftung, GFPS, ADAMAS-Stipftung, DLA Marbach, Alexander und Renata Camaro Stiftung, Research Council of Norway, Munch and Vigeland Grant/ the City of Oslo.
Lidia Głuchowska is specialized in the history and theory of the Central European Avant-Garde and Modernism, especially in the Polish-German and Central-European – Skandinavian cultural transfer, Yiddish Avant-Garde, and correspondences of word and image.
She is author of 4 monographs and editor of 11 scientific anthologies as well as over 100 contributions and reviews in Polish, English, German, Russian and French.
Head of 12 international research (2000–2021).Curator of over 20 exhibitions of Modernist, Avant-Garde and contemporary art in Berlin, Krzyżowa, Zielona Góra, Staniszów, Szczecin, Łódź, Wrocław, Dresden, Lvov and Belgrade.
She co-organized international conferences in Berlin, Scheersberg, Poznań, Canterbury, Stokholm, Helsinki, Lisbon, Bydgoszcz, Wrocław and Prague.
Co-author of several TV-programs and 3 movies about art.
Organizer of international art workshops and research travels for students.edit
Research Interests: Art History and Art
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New means of transport and communication allowed unprecedented mobility of people, goods and ideas in the late nineteenth and early twentieth century, which contributed to far-reaching economic, social and political changes in a first... more
New means of transport and communication allowed unprecedented mobility of people, goods and ideas in the late nineteenth and early twentieth century, which contributed to far-reaching economic, social and political changes in a first wave of globalisation. In its genuine transnationality, the European historical avant-garde can be seen as a product of this development. Cosmpolitanism, internationality and internationalism became emblems of the avant-garde in its pursuit of a 'new', modern international culture trangressing 'old' borders and limitations dictated by conceptions of nationhood, linguistic restrictions, and state boundaries. Simultaneously, national and nationalist reflexes can be traced in the avant-garde as well - in a European context marked by a plethora of competing nationalisms. This collection of essays focuses on the transnationality and inter-nationalisms in the European avant-garde as well as on conflicts, paradoxes and debates in the avant-gar...
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This paper concerns some selected aspects of Polish culture after the Great War and subsequently to discuss the problems of a “foreign war” and forming a “new state”.
Research Interests: Visual propaganda, World War I, World War II, Media and Cultural Studies / Cultural Theory / Representation of the Political Violence / Political pilgrimage and Political Pilgrimage Cinema / Propaganda and Violence / Visual Anthropology / Cuban Culture., National Romanticism, and 5 moreNational Monuments, Polish avantgarde of the interwar period, Polish national art, patriotic movement, and Polish indeopendence
This paper is an interpretation of the works of Alina Szapocznikow in the context of the achievements of the Viennna Workshops and to indicate their hypothetical genetic connections.
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This paper is the synthetic presentation of the most significant initiatives undertaken by the artists of the Polish avant-garde of the interwar period, mainly from Poznań, in Berlin
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Artists and writers of the Modernism were fascinated in the figure of the charismatic creative person acting in the cultural and political scene, such as romantic prophets or constructivist engineers of society. In the Polish context this... more
Artists and writers of the Modernism were fascinated in the figure of the charismatic creative person acting in the cultural and political scene, such as romantic prophets or constructivist engineers of society. In the Polish context this idea was widely popular within the nation without the state for which in the 19th and 20th centuries intellectual understood as national genius replaced the nonexistent political leader.
This paper concerns representative cases of the artists - "magicians" or “mentors” as national leaders in the Polish context.
This paper concerns representative cases of the artists - "magicians" or “mentors” as national leaders in the Polish context.
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This paper is a compact analysis of the three phases of the expressionism in the Polish art. Scholars distinguish three phases of expressionism in Poland: an anticipated symbolic art nou-veau about 1900; an explicitly programmatic... more
This paper is a compact analysis of the three phases of the expressionism in the Polish art.
Scholars distinguish three phases of expressionism in Poland: an anticipated symbolic art nou-veau about 1900; an explicitly programmatic expressionism, beginning near the end of the First World War and lasting only three to four years; and a third, historical, late expressionism in the 1930s. The first includes the work of artists such as Mikołaj Konstanty Czurlanis (Mikalojus Konstantinas Čiurlionis), Wojciech Weiss (inspired by Edvard Munch), and Stanisław Wyspiański Witkacy (compared to James Ensor) and writings by Stanisław Przybyszewski, Wacław Berent, and Tadeusz Miciński. Late expressionism of the 1920s and 1930s was identified with the visual and literary œuvre of Bruno Schulz and the poetry of the Czartak group.8 These two nonhis-torical phases of implicit expressionism were both more highly valued by Polish art historians than the third phase of expressionism, which ran parallel to the second generation in Germany.9Expressive and expressionist tendencies in Polish art are present still in contemporary art, in part as a programmatic neoexpressionism in the work of artists inspired by Bunt, in part as a movement similar to the Neue Wilde (New Wild Artists) in Germany of the 1980s and later
Scholars distinguish three phases of expressionism in Poland: an anticipated symbolic art nou-veau about 1900; an explicitly programmatic expressionism, beginning near the end of the First World War and lasting only three to four years; and a third, historical, late expressionism in the 1930s. The first includes the work of artists such as Mikołaj Konstanty Czurlanis (Mikalojus Konstantinas Čiurlionis), Wojciech Weiss (inspired by Edvard Munch), and Stanisław Wyspiański Witkacy (compared to James Ensor) and writings by Stanisław Przybyszewski, Wacław Berent, and Tadeusz Miciński. Late expressionism of the 1920s and 1930s was identified with the visual and literary œuvre of Bruno Schulz and the poetry of the Czartak group.8 These two nonhis-torical phases of implicit expressionism were both more highly valued by Polish art historians than the third phase of expressionism, which ran parallel to the second generation in Germany.9Expressive and expressionist tendencies in Polish art are present still in contemporary art, in part as a programmatic neoexpressionism in the work of artists inspired by Bunt, in part as a movement similar to the Neue Wilde (New Wild Artists) in Germany of the 1980s and later
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This paper is a monograph of Mariusz Kubielas’s project U Schulza concerning so called staged phtography. I also analysed a so-called cabinet of archival techniques of photography, related to the painting and print art, presented at the... more
This paper is a monograph of Mariusz Kubielas’s project U Schulza concerning so called staged phtography. I also analysed a so-called cabinet of archival techniques of photography, related to the painting and print art, presented at the Berlin International Month of Photography festival in 2014.
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This paper is a characteristic of the coexistence of the Avant-garde internationalism and some national aspects in the classical works and theory of the Central European Avant-garde. I also discussed questions and media of networking in... more
This paper is a characteristic of the coexistence of the Avant-garde internationalism and some national aspects in the classical works and theory of the Central European Avant-garde. I also discussed questions and media of networking in the cultural transfer and so-called new art history with regard to the works from so-called peripheries
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This paper is a monographical study of the Polish artists’ output of forming the profile of Der Sturm’s gallery and magazine based on the archival studies. Similiar article in German was published in 2011 in the catalogue of the... more
This paper is a monographical study of the Polish artists’ output of forming the profile of Der Sturm’s gallery and magazine based on the archival studies.
Similiar article in German was published in 2011 in the catalogue of the Sturm-Exhibittion in Wuppertal accessible in this profile.
A modified English version appeared in Centropa in 2012, also accessible in this profile.
There exists also a shortened, modified Russian version.
Summary:
Polish avant-garde from the closest circle of “Der Sturm” comprises ten artists including one woman only. None of them represented official art, what comes as a characteristic feature of the group. Admittedly, since 1920 Marcoussis collabo-rated with the “Formiści” magazine, in which Polish national style was establis-hed. Among “Der Sturm” co-workers connected with Poland were: a mystic of a sex – Flaum, a believer in Cubist fourth dimension – Marcoussis, an engineer and anthroposopher – Stückgold, “a cosmic Communist” and one of the pioneers of ecological stream in art – Kubicki, imagination engineers – Szczuka, Żarnower (and most certainly Stażewski) together with Berlewi, as well as a painter-scenographer – Krassowski. As a parspro toto of the international avant-garde in “Der Sturm” gallery and magazine, they indicate ideological and stylistic art spectrum, promoted occasionally against personal preferences of Herwarth Walden and anticipating development of his artistic likes.
What is striking about nearly all of the mentioned above artists (except for Szczuka) that they can be described as “transfrontaliers” or “of multiethnic identity”. Their multinational identity was either Polish-German (Flaum and Kubicki), or Polish-Jewish (Stückgold and Żarnower), or Polish-French-Jewish (Markus/Marcoussis and Berlewi), or Polish-Austrian-Jewish (Rittner). This was the reason for their achievements having been long enough marginalised in the national art history what resulted in shortcomings in documentary. Only recently they have been gaining back their place in the international avant--garde historiography. Their biographies confirm with these examples the Eastern European artists contribution to the development of “Der Sturm” empire in the first, before-war period of its existence, but also the ideological-artistic re-orienteering of this institution in the second period – after the WW1, and in the third one – after the mid 1920s. They demonstrate on the one hand a delicate question of national historiography, which retouched the fact that art, even in Poland after creating “a new state” in 1918, was actually multiethnic and multicultural. On the other hand they document representatively multinational identification of the artists active at that time (not only in Europe).
The following case study, written from the post national, post historic and post colonial perspective, is aimed not only at completing shortcomings in docu-mentation of national and above national art historiography thanks to the latest source research, but also at accentuating the need of deconstruction of traditio-nal methods and research concepts in reference to the art of not solely European “outskirts” and the areas of intensive migration.
Similiar article in German was published in 2011 in the catalogue of the Sturm-Exhibittion in Wuppertal accessible in this profile.
A modified English version appeared in Centropa in 2012, also accessible in this profile.
There exists also a shortened, modified Russian version.
Summary:
Polish avant-garde from the closest circle of “Der Sturm” comprises ten artists including one woman only. None of them represented official art, what comes as a characteristic feature of the group. Admittedly, since 1920 Marcoussis collabo-rated with the “Formiści” magazine, in which Polish national style was establis-hed. Among “Der Sturm” co-workers connected with Poland were: a mystic of a sex – Flaum, a believer in Cubist fourth dimension – Marcoussis, an engineer and anthroposopher – Stückgold, “a cosmic Communist” and one of the pioneers of ecological stream in art – Kubicki, imagination engineers – Szczuka, Żarnower (and most certainly Stażewski) together with Berlewi, as well as a painter-scenographer – Krassowski. As a parspro toto of the international avant-garde in “Der Sturm” gallery and magazine, they indicate ideological and stylistic art spectrum, promoted occasionally against personal preferences of Herwarth Walden and anticipating development of his artistic likes.
What is striking about nearly all of the mentioned above artists (except for Szczuka) that they can be described as “transfrontaliers” or “of multiethnic identity”. Their multinational identity was either Polish-German (Flaum and Kubicki), or Polish-Jewish (Stückgold and Żarnower), or Polish-French-Jewish (Markus/Marcoussis and Berlewi), or Polish-Austrian-Jewish (Rittner). This was the reason for their achievements having been long enough marginalised in the national art history what resulted in shortcomings in documentary. Only recently they have been gaining back their place in the international avant--garde historiography. Their biographies confirm with these examples the Eastern European artists contribution to the development of “Der Sturm” empire in the first, before-war period of its existence, but also the ideological-artistic re-orienteering of this institution in the second period – after the WW1, and in the third one – after the mid 1920s. They demonstrate on the one hand a delicate question of national historiography, which retouched the fact that art, even in Poland after creating “a new state” in 1918, was actually multiethnic and multicultural. On the other hand they document representatively multinational identification of the artists active at that time (not only in Europe).
The following case study, written from the post national, post historic and post colonial perspective, is aimed not only at completing shortcomings in docu-mentation of national and above national art historiography thanks to the latest source research, but also at accentuating the need of deconstruction of traditio-nal methods and research concepts in reference to the art of not solely European “outskirts” and the areas of intensive migration.
Research Interests: Constructivism, Transnationalism and multiple identities, Cabaret Voltaire, 20th Century Avantgarde, Herwarth Walden, Der Sturm, and 11 moreStanisław Przybyszewski, Henryk Berlewi, Teresa Żarnowerówna, Polish avant-garde art in the interwar period, Stanislaw Kubicki, Mieczyslaw Szczuka, Jankel Adler, Marceli Slodki, Stanislaw Stuckgold, Feliks Krassowski, and Polish expressionist group Bunt (Revolt)
The paper includes a comparative analysis of the origins and meaning of the painting of Munch and the novel of Stanislaw Przybyszewski of the same title. The other focus are influences of Munch's oeuvre on the art prints of the Poznan... more
The paper includes a comparative analysis of the origins and meaning of the painting of Munch and the novel of Stanislaw Przybyszewski of the same title. The other focus are influences of Munch's oeuvre on the art prints of the Poznan based expressionist group Bunt (Revolt) and Przybyszewski's theoretical statements on expressionism.
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This paper includes a characteristic of the theory and practice of Henryk Berlewi's mechano-facture as a transmedial adaptation of the experimental film by Viking Eggeling as well as its reception in Poland.
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This article is an in-depth analysis of the role taken by the Yiddish Avant-garde in transfering the modern art tendencies (literature, fine arts, theatre) on within the universal web of the international cultural contacts.
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This is a monographical study (reconstruction and interpretation) of the Polish artists’ output of forming the profile of Der Sturm’s gallery and magazine.
Research Interests: Art History, Cabaret Voltaire, German Expresionism, Berlin Dada, Herwarth Walden, Der Sturm, and 10 moreStanisław Przybyszewski, Henryk Berlewi, Kasimir Malevitch, Teresa Żarnowerówna, German Avant-Garde, Polish avant-garde art in the interwar period, polish expressionism, Stanislaw Kubicki, Mieczyslaw Szczuka, and Felix Kossowski
This paper is an interpretation of some interpretation of the correspondences of literary and fine art works of Stanisław Przybyszewski, Edvard Munch and Gustav Vigeland. Based on this researchI indicated the origins of the... more
This paper is an interpretation of some interpretation of the correspondences of literary and fine art works of Stanisław Przybyszewski, Edvard Munch and Gustav Vigeland. Based on this researchI indicated the origins of the pre-expressionist theory of art.
Similiar paper of mine in German appeared in the magazine Deshima in 2009.
Similiar paper of mine in German appeared in the magazine Deshima in 2009.
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This paper concerns and documents two genealogical lines of Polish dadaism. One of them, related to the activities of the Polish-german artist, Stanislaw Kubicki in the circle of the Dada Berlin had been neglected in the scientific... more
This paper concerns and documents two genealogical lines of Polish dadaism. One of them, related to the activities of the Polish-german artist, Stanislaw Kubicki in the circle of the Dada Berlin had been neglected in the scientific descriptions so far.
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This paper is an reconstruction of the role of expressionist artist and poet, Stanisław Kubicki, as a courier of the Polish underground armee during the WWII.
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This essay concerns the metaphysical components in the iconography and artistic theory of the group Bunt and of Lothar Schreyer who co-created the Bauhaus theatre.
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Eines der bekanntesten Bilder der Welt, Skrik (Schrei) von Edvard Munch, visualisiert einzigartig die Durchdringung der Grenzen von Innen und Außen, von Mensch und Raum. Ursprünglich Verzwei ung genannt, steht es symbolisch für Ängste und... more
Eines der bekanntesten Bilder der Welt, Skrik (Schrei) von Edvard Munch, visualisiert einzigartig die Durchdringung der Grenzen von Innen und Außen, von Mensch und Raum. Ursprünglich Verzwei ung genannt, steht es symbolisch für Ängste und Emotionen einer ganzen Generation.
Sein erster Interpret war "der geniale Pole" Stanislaw Przybyszewski, welcher später ein einflußreicher Impressario Munchs in Mitteleuopa und Skandinavien.
My input was to make an interpretation of some relations between literary and fine art works of Stanisław Przybyszewski, Edvard Munch and Gustav Vigeland.
Sein erster Interpret war "der geniale Pole" Stanislaw Przybyszewski, welcher später ein einflußreicher Impressario Munchs in Mitteleuopa und Skandinavien.
My input was to make an interpretation of some relations between literary and fine art works of Stanisław Przybyszewski, Edvard Munch and Gustav Vigeland.
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This contribution concerns the contribution made by the female artists of the Vienna Workshops to forming the art déco style and the parallelity and differences betweek art deco and constructivism.
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This article concerns the question of the dialectic of national and trans/international and the multiple identity in the activities and oeuvre of the avant-garde artists on the example of the Polish-German writer, painter and grafician,... more
This article concerns the question of the dialectic of national and trans/international and the multiple identity in the activities and oeuvre of the avant-garde artists
on the example of the Polish-German writer, painter and grafician, Stanislaw Kubicki, who in the period of 1918-1921 wrote his programmatic poems paralelly in Polish and German, and later became a member of the Polish and anti-nazi resistance.
ENGLISH VERSION ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA ED
on the example of the Polish-German writer, painter and grafician, Stanislaw Kubicki, who in the period of 1918-1921 wrote his programmatic poems paralelly in Polish and German, and later became a member of the Polish and anti-nazi resistance.
ENGLISH VERSION ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA ED
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This paper concerns the concept of the main international and national artistic movement during the WW1. Less known examples of paintings and art prints eg. from Bulgaria, Slovenia, Finnland, Latvia, Poland, Germany and Czech Lands as... more
This paper concerns the concept of the main international and national artistic movement during the WW1. Less known examples of paintings and art prints eg. from Bulgaria, Slovenia, Finnland, Latvia, Poland, Germany and Czech Lands as well as works by some Jewish artists, and the split between Expressionism and Dadaism are taken into consideration.
ENGLISH VERSION ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA EDU
ENGLISH VERSION ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA EDU
Research Interests:
This article concerns the question of the dialectic of national and trans/international and the multiple identity in the activities and oeuvre of the avant-garde artists on the example of the Polish-German writer, painter and grafician,... more
This article concerns the question of the dialectic of national and trans/international and the multiple identity in the activities and oeuvre of the avant-garde artists
on the example of the Polish-German writer, painter and grafician, Stanislaw Kubicki, who in the period of 1918-1921 wrote his programmatic poems paralelly in Polish and German, and later became a member of the Polish and anti-nazi resistance.
on the example of the Polish-German writer, painter and grafician, Stanislaw Kubicki, who in the period of 1918-1921 wrote his programmatic poems paralelly in Polish and German, and later became a member of the Polish and anti-nazi resistance.
Research Interests:
This paper concerns the concept of Expressionism as the main international and national artistic movement during the WW1. Less known examples of paintings and art prints eg. from Bulgaria, Slovenia, Finnland, Latvia, Poland, Germany and... more
This paper concerns the concept of Expressionism as the main international and national artistic movement during the WW1. Less known examples of paintings and art prints eg. from Bulgaria, Slovenia, Finnland, Latvia, Poland, Germany and Czech Lands as well as works by some Jewish artists, and the split between Expressionism and Dadaism are taken into consideration.
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This essay focuses on the so-called Poznań expressionism—a unique manifestation of the expressionist artistic style that existed in parallel to the second generation of German expression-ism, during the interwar period. It... more
This essay focuses on the so-called Poznań expressionism—a unique manifestation of the expressionist artistic style that existed in parallel to the second generation of German expression-ism, during the interwar period. It concerns the history of the literary-artistic group Bunt (Revolt) and the polemics on the cathegorization of it and its circle as Expressionist and as a local/national phenomenon.
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Lidia Głuchowska, Artists from Poland in the International Milieu of Classical Berlin Avant-Garde Die Aktion, Der Sturm, and Die Novembergruppe, w: Polish Avantarde in Berlin, red. Małgorzata Stolarska-Fronia, Berlin, Peter Lang, 2020, s.... more
Lidia Głuchowska, Artists from Poland in the International Milieu of Classical Berlin Avant-Garde Die Aktion, Der Sturm, and Die Novembergruppe, w: Polish Avantarde in Berlin, red. Małgorzata Stolarska-Fronia, Berlin, Peter Lang, 2020, s. 81-121, ISBN: 978-3-631-81416-1 81
Herwarth Walden, the founder of the famous gallery and art magazine Der Sturm, described Berlin as the "Hauptstadt der Vereinigten Staaten von Europa." In the first three decades of the 20th century it became the most important metropolis in East Central Europe, which attracted artists from the whole region and from the European peripheries, especially those who were closer to the international utopia of the new world than to the particular concepts of new states and national art, among them numerous painters, architects, and writers from Poland.The Nestor of the Polish avant-garde in Berlin was Stanisław Przybyszewski, who in 1894 published the first monograph of work by Edvard Munch and the first on theory of Expressionism avant la lettre, based on his work, which he called Psychical Naturalism.The most spectacular presentation of Polish new art in the capital of Germany was the special issue of the magazine Die Aktion called "Polnische Kunst" [Polish Art] and the exhibition of the group Bunt [PL: Revolt; DE: Colourful,
Herwarth Walden, the founder of the famous gallery and art magazine Der Sturm, described Berlin as the "Hauptstadt der Vereinigten Staaten von Europa." In the first three decades of the 20th century it became the most important metropolis in East Central Europe, which attracted artists from the whole region and from the European peripheries, especially those who were closer to the international utopia of the new world than to the particular concepts of new states and national art, among them numerous painters, architects, and writers from Poland.The Nestor of the Polish avant-garde in Berlin was Stanisław Przybyszewski, who in 1894 published the first monograph of work by Edvard Munch and the first on theory of Expressionism avant la lettre, based on his work, which he called Psychical Naturalism.The most spectacular presentation of Polish new art in the capital of Germany was the special issue of the magazine Die Aktion called "Polnische Kunst" [Polish Art] and the exhibition of the group Bunt [PL: Revolt; DE: Colourful,
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Lidia Głuchowska, Sto lat awangardy i transgraniczny hołd dla Buntu i Jung Idysz = One Hundred Years of Avant-garde and Cross-border Homage to Bunt and Yung Yidish, w: Bunt. Nowa ekspresja/ Bunt. New Expression, red. Maciej Kurak,... more
Lidia Głuchowska, Sto lat awangardy i transgraniczny hołd dla Buntu i Jung Idysz = One Hundred Years of Avant-garde and Cross-border Homage to Bunt and Yung Yidish, w: Bunt. Nowa ekspresja/ Bunt. New Expression, red. Maciej Kurak, Uniwersytet Artystyczny im. Magdaleny Abakanowicz w Poznaniu, Poznań 2020, s. 120–192.
This article refers to the celebrations of the 100 years of the Polish Avant-Garde and the Avant-Garde Yiddish, especially to the series of the contemporary exhibitions and book projects inspired by the oeuvre and the manifestos by the Polish modernist/ avant-garde group Bunt (Revolt) as well as Lodz based group Yung Yidish (Jung Jidysz/Jung Idysz) in the zears 2015-2021
This article refers to the celebrations of the 100 years of the Polish Avant-Garde and the Avant-Garde Yiddish, especially to the series of the contemporary exhibitions and book projects inspired by the oeuvre and the manifestos by the Polish modernist/ avant-garde group Bunt (Revolt) as well as Lodz based group Yung Yidish (Jung Jidysz/Jung Idysz) in the zears 2015-2021
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... granicą - Niemcy, proza - teksty, sztuka lubuska - 21 w., Szurek, Piotr, współpraca polsko-niemiecka, Żagań - bibliotekarstwo - historia, Żagań - Klasztor Augustianów - historia, Żydzi - Polska - 20 w. Typ, czasopismo. Sprache, ger,... more
... granicą - Niemcy, proza - teksty, sztuka lubuska - 21 w., Szurek, Piotr, współpraca polsko-niemiecka, Żagań - bibliotekarstwo - historia, Żagań - Klasztor Augustianów - historia, Żydzi - Polska - 20 w. Typ, czasopismo. Sprache, ger, pol. ...
... granicą - Niemcy, proza - teksty, sztuka lubuska - 21 w., Szurek, Piotr, współpraca polsko-niemiecka, Żagań - bibliotekarstwo - historia, Żagań - Klasztor Augustianów - historia, Żydzi - Polska - 20 w. Typ, czasopismo. Sprache, ger,... more
... granicą - Niemcy, proza - teksty, sztuka lubuska - 21 w., Szurek, Piotr, współpraca polsko-niemiecka, Żagań - bibliotekarstwo - historia, Żagań - Klasztor Augustianów - historia, Żydzi - Polska - 20 w. Typ, czasopismo. Sprache, ger, pol. ...
Der „fremde Krieg“ und der „neue Staat“ Polnische Kunst 1914–1918 Der Erste Weltkrieg war für die polnische Kunst eine Zeit des Umbruchs, aber auch des Rückgriffs auf die Tradition. Künstler und Literaten verarbeiteten ihre Erfahrungen... more
Der „fremde Krieg“ und der „neue Staat“
Polnische Kunst 1914–1918
Der Erste Weltkrieg war für die polnische Kunst eine Zeit des Umbruchs,
aber auch des Rückgriffs auf die Tradition. Künstler und Literaten verarbeiteten
ihre Erfahrungen als Soldaten nicht nur dokumentarisch, sondern
pflegten auch die romantische, retrospektive Utopie einer Wiederbelebung
der alten Adelsrepublik. Gleichzeitig halfen sie der Politik, den
neuen Staat gedanklich vorwegzunehmen. Auch in Polen gab es Debatten
um die „neue Form“ in der Kunst. Doch die verzwickte geopolitische
Lage Polens, der weiter um seine Grenzen kämpfte, führte in der Kunst
und Literatur zu einer Nationalisierung der modernen Form. Die internationalistische
Avantgarde wurde in Polen nie Mode; zur Visitenkarte des
neuen Staates wurde ein an der Volkskunst orientierter „nationaler Stil“.
Polnische Kunst 1914–1918
Der Erste Weltkrieg war für die polnische Kunst eine Zeit des Umbruchs,
aber auch des Rückgriffs auf die Tradition. Künstler und Literaten verarbeiteten
ihre Erfahrungen als Soldaten nicht nur dokumentarisch, sondern
pflegten auch die romantische, retrospektive Utopie einer Wiederbelebung
der alten Adelsrepublik. Gleichzeitig halfen sie der Politik, den
neuen Staat gedanklich vorwegzunehmen. Auch in Polen gab es Debatten
um die „neue Form“ in der Kunst. Doch die verzwickte geopolitische
Lage Polens, der weiter um seine Grenzen kämpfte, führte in der Kunst
und Literatur zu einer Nationalisierung der modernen Form. Die internationalistische
Avantgarde wurde in Polen nie Mode; zur Visitenkarte des
neuen Staates wurde ein an der Volkskunst orientierter „nationaler Stil“.
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This contribution is a compact tryal of the reconstruction of the history of Cubism in Poland, respecting the newest tendencies in methodology and the newest stage of research in the „peripheries”.
Research Interests:
Lidia Głuchowska: The Lady with an Ermine by Leonardo da Vinci, its contemporary „remakes” and the contradictions of the Reconstruction of the Original, in: The challenge of the object: 33rd congress of the International Committee of the... more
Lidia Głuchowska: The Lady with an Ermine by Leonardo da Vinci, its contemporary „remakes” and the contradictions of the Reconstruction of the Original, in: The challenge of the object: 33rd congress of the International Committee of the History of Art, Nuremberg, 15th -20th July 2012/ Die Herausforderung des Objekts: 33. Internationaler Kunsthistoriker-Kongress/ CIHA 2012, Nürnberg (=Wissenschaftliche Beibände zum Anzeiger des Germanischen Nationalmuseums, Bd. 32), Georg Ulrich Großmann/ Petra Krutisch (eds), in co-operation with Almuth Klein, Nürnberg: Germanisches Nationalmuseum, 2013, pp. 31–35, ISBN: 978–3–936688–64–1
This paper is a critical analysis of research status of the history and preservation of the painting “The Lady with an Ermine” by Leonardo da Vinci in the context of the material-iconographical authenticity of the art pieces.
This paper is a critical analysis of research status of the history and preservation of the painting “The Lady with an Ermine” by Leonardo da Vinci in the context of the material-iconographical authenticity of the art pieces.
Research Interests:
Research Interests:
This book includes the extended interpretation of the photographic works of two artists inspired by the literary and graphical oeuvre of Polish-Jewish writer Bruno Schulz. The quotations from Bruno Schultz’s novels in Polish and English... more
This book includes the extended interpretation of the photographic works of two artists inspired by the literary and graphical oeuvre of Polish-Jewish writer Bruno Schulz. The quotations from Bruno Schultz’s novels in Polish and English accompany the single photographs.
Research Interests:
This book is a reconstruction the biography and artistic achievements of Margarete and Stanisław Kubicki against a background of Polish artistic output and activity as well as German Avant-garde, especially taking the accomplishments of... more
This book is a reconstruction the biography and artistic achievements of Margarete and Stanisław Kubicki against a background of Polish artistic output and activity as well as German Avant-garde, especially taking the accomplishments of the artistic couples into consideration. This book includes the analysis of the artistic programmes, iconography, work stylistics and a lot of archival records.
There are several revisions of this book
ILidia Głuchowska, 2007: Avantgarde und Liebe (Avant-Garde and Love). Margarete und Stanislaw Kubicki
1910–1945, Berlin: Gebr. Mann Verlag, 2007, 524 pages., ISBN: 9783786125419.
1. Stefan Dyroff, in: Borussia (Cultural Community „Borussia”) 2007/ 41, pp. 267–269.
2. Michał Mencfel, in: Artium Quaestiones 2008/ XIX.
3. Marion Brandt, in: Studia Germanica Gedanensia 2008/16, pp. 280–283.
4. Hubert van den Berg, in: Centropa. A Journal of Central European Architecture and Related Arts 2008/ 8(2), pp. 297–299.
5. Stefan Dyroff, in: Kunstchronik (Art chronicle/ Central Institute for Art History, Munich), 2008/ 4, pp. 176–178.
6. Camilla Badstübner-Kizik, in: Studia Niemcoznawcze (Studies in Germanic Sciences) 2009/ XL, pp. 459–464.
There are several revisions of this book
ILidia Głuchowska, 2007: Avantgarde und Liebe (Avant-Garde and Love). Margarete und Stanislaw Kubicki
1910–1945, Berlin: Gebr. Mann Verlag, 2007, 524 pages., ISBN: 9783786125419.
1. Stefan Dyroff, in: Borussia (Cultural Community „Borussia”) 2007/ 41, pp. 267–269.
2. Michał Mencfel, in: Artium Quaestiones 2008/ XIX.
3. Marion Brandt, in: Studia Germanica Gedanensia 2008/16, pp. 280–283.
4. Hubert van den Berg, in: Centropa. A Journal of Central European Architecture and Related Arts 2008/ 8(2), pp. 297–299.
5. Stefan Dyroff, in: Kunstchronik (Art chronicle/ Central Institute for Art History, Munich), 2008/ 4, pp. 176–178.
6. Camilla Badstübner-Kizik, in: Studia Niemcoznawcze (Studies in Germanic Sciences) 2009/ XL, pp. 459–464.
Research Interests: Constructivism, German Expressionism, Bauhaus, Okkultismus, Theosophy and Antroposophy, and 8 more20th Century Avantgarde, Geometrical Abstraction, Architecture, Total Artwork, Woman Artists, Polish avant-garde art in the interwar period, Stanislaw Kubicki, Polish expressionist group Bunt (Revolt), Margarete Kubicka, and artistic couples
This special issue of the magazine Centropa is devoted to the imput of international artists to the artistic scene of Berlin in the early 20th Century and interwar period imput. It includes contributions on Polish, Yugoslavian, Romanian,... more
This special issue of the magazine Centropa is devoted to the imput of international artists to the artistic scene of Berlin in the early 20th Century and interwar period imput.
It includes contributions on Polish, Yugoslavian, Romanian, Lithuanian, Latvian, Estonian, German and Russian artists acting in the cultural life of Berlin.
It includes contributions on Polish, Yugoslavian, Romanian, Lithuanian, Latvian, Estonian, German and Russian artists acting in the cultural life of Berlin.
Research Interests:
This book deals with the ambivalence of international and national tendencies of the manifestoes and artistic practices of the classical Avant-garde. It includes 13 essays by contributors from12 countries. See the contents of the book... more
This book deals with the ambivalence of international and national tendencies of the manifestoes and artistic practices of the classical Avant-garde.
It includes 13 essays by contributors from12 countries.
See the contents of the book in the attached file
It includes 13 essays by contributors from12 countries.
See the contents of the book in the attached file
Research Interests:
This book was created in the framework of my own research project, which result was an international exhibition tour of the exhibition Bunt (Revolt) - Expressionism - Transborder Avant-Garde in the Muzeum Narodowe of Poznań, Muzeum... more
This book was created in the framework of my own research project, which result was an international exhibition tour of the exhibition
Bunt (Revolt) - Expressionism - Transborder Avant-Garde in the Muzeum Narodowe of Poznań, Muzeum Okręgowe im. Leona Wyczółkowskiego of Bydgoszcz, Muzeum im. J. I. Kraszewskiego of Drezno, Dolnośląskie Centrum Kultury i Sztuki in Wrocław, co-financed by the Foundation of the Polish-German Cooperation.
It includes e.g my own papers and the intreview which I conducted with the owner of the art prints and other art pieces donated to the National Museum in Poznan and the Distric Museum in Bydgoszcz, Professor St. Karol Kubicki. This review concerns the history of his collection and the international artistic relationships of his parents, Margarete and Stanislaw Kubicki, the mediators between the Polish and german/international artistic scene.
The great value of the book are the reproductions of the art prints whithout frames, which allow to see the signatures, inscriptions and the state of the paper, they were printed on.
My input was to produce an idea of the whole book and to collect the source materials. I wrote the two essays and interviewed the donor as well as translated 80% of the text into both languages German and Polish. Agnieszka Salamon-Radecka was the co-author of the list of the exhibits and of the commentary on this list (altogether 5 p.) and Prof. Wojciech Suchocki an introduction (3 p.)
The main written contributions to the book are the papers:
1/
Lidia Głuchowska: "Obiektywna” fotografia i konstruowana historiografia sztuki? Glosy do dziejów kosmo-patriotycznej grupy BUNT = ,Objektive’ Fotografie und konstruierte Kunstgeschichtsschreibung? Anmerkungen zur Geschichte der (kosmo)patriotischen Gruppe BUNT, in: Bunt – Ekspresjonizm -–Transgraniczna awangarda/ Bunt – Expressionismus – Grenzübergreifende Avantgarde, ed.Lidia Głuchowska, Poznań: Muzeum Narodowe, 2015, pp.133–189.
2/
Lidia Głuchowska: Awangardowe uniwersum a lokalna perspektywa. Uwagi o historii kolekcji sztuki prof. St. Karola Kubickiego = Avantgardistisches Universum und lokale Perspektive. Entstehungsgeschichte der Sammlung von Prof. St. Karol Kubicki, in: Bunt – Ekspresjonizm –Transgraniczna awangarda/ Bunt – Expressionismus – Grenzübergreifende Avantgarde, ed.Lidia Głuchowska, Poznań: Muzeum Narodowe, 2015, pp. 85–132.
3/
Prace plastyczne grupy BUNT wracają do ojczyzny. Z prof. St. Karolem Kubickim, ofiarowującym polskim muzeom dzieła sztuki ze swej berlińskiej kolekcji, rozmawia dr Lidia Głuchowska, monografistka twórczości jego rodziców, Margarete i Stanisława Kubickich = Die Kunstwerke der Gruppe BUNT kehren in ihre Heimat zurück. Mit Prof. St. Karol Kubicki, der polnischen Museen Werke aus seiner Berliner Sammlung schenkt, spricht die Autorin der Monographie zum Kunstschaffen seiner Eltern, Dr. Lidia Głuchowska, in: Bunt – Ekspresjonizm – Transgraniczna awangarda/ Bunt – Expressionismus – Grenzübergreifende Avantgarde, ed. Lidia Głuchowska Poznań: Muzeum Narodowe, 2015, pp. 18–85.
Bunt – Ekspresjonizm – Transgraniczna awangarda. Prace z berlińskiej kolekcji prof. St. Karola Kubickiego/ Bunt – Expressionismus – Grenzübergreifende Avantgarde. Werke aus Berliner Sammlung von Prof. St. Karol Kubicki, ed. Lidia Głuchowska, Poznań: Muzeum Narodowe, 2015, 208 pages, ISBN: 978–83–64080–13–5.
There are several revisions of this book
1. Przemysław Strożek, in: Umeni/ Art 2016/ LXIV(2), p. 303–305.
2. Marta Famula, in: Expressionismus 2015/ 2.
3. Der Sturm und Die Aktion (Expressionism. Der Sturm and Die Aktion) 2017/ 5, pp. 118–119.
4. Janina Wallis, in: Universytet Zielonogórski (Monthly of the Academic Community) 2017/ 3(241), pp. 25–26.
5. Steven Mansbach, Brigitta Helbig-Mischewski, Waldemar Okoń (fragments of book reviews in Polish, English and German, in: https://ewamaria2013texts.wordpress.com/2015/12/10/17526/.
6. Redakcja/ Editorial, in: http://www.okis.pl/site/wydawnictwaa/n/1/n/1/1942/n.html#!shadowbox/0/.
Bunt (Revolt) - Expressionism - Transborder Avant-Garde in the Muzeum Narodowe of Poznań, Muzeum Okręgowe im. Leona Wyczółkowskiego of Bydgoszcz, Muzeum im. J. I. Kraszewskiego of Drezno, Dolnośląskie Centrum Kultury i Sztuki in Wrocław, co-financed by the Foundation of the Polish-German Cooperation.
It includes e.g my own papers and the intreview which I conducted with the owner of the art prints and other art pieces donated to the National Museum in Poznan and the Distric Museum in Bydgoszcz, Professor St. Karol Kubicki. This review concerns the history of his collection and the international artistic relationships of his parents, Margarete and Stanislaw Kubicki, the mediators between the Polish and german/international artistic scene.
The great value of the book are the reproductions of the art prints whithout frames, which allow to see the signatures, inscriptions and the state of the paper, they were printed on.
My input was to produce an idea of the whole book and to collect the source materials. I wrote the two essays and interviewed the donor as well as translated 80% of the text into both languages German and Polish. Agnieszka Salamon-Radecka was the co-author of the list of the exhibits and of the commentary on this list (altogether 5 p.) and Prof. Wojciech Suchocki an introduction (3 p.)
The main written contributions to the book are the papers:
1/
Lidia Głuchowska: "Obiektywna” fotografia i konstruowana historiografia sztuki? Glosy do dziejów kosmo-patriotycznej grupy BUNT = ,Objektive’ Fotografie und konstruierte Kunstgeschichtsschreibung? Anmerkungen zur Geschichte der (kosmo)patriotischen Gruppe BUNT, in: Bunt – Ekspresjonizm -–Transgraniczna awangarda/ Bunt – Expressionismus – Grenzübergreifende Avantgarde, ed.Lidia Głuchowska, Poznań: Muzeum Narodowe, 2015, pp.133–189.
2/
Lidia Głuchowska: Awangardowe uniwersum a lokalna perspektywa. Uwagi o historii kolekcji sztuki prof. St. Karola Kubickiego = Avantgardistisches Universum und lokale Perspektive. Entstehungsgeschichte der Sammlung von Prof. St. Karol Kubicki, in: Bunt – Ekspresjonizm –Transgraniczna awangarda/ Bunt – Expressionismus – Grenzübergreifende Avantgarde, ed.Lidia Głuchowska, Poznań: Muzeum Narodowe, 2015, pp. 85–132.
3/
Prace plastyczne grupy BUNT wracają do ojczyzny. Z prof. St. Karolem Kubickim, ofiarowującym polskim muzeom dzieła sztuki ze swej berlińskiej kolekcji, rozmawia dr Lidia Głuchowska, monografistka twórczości jego rodziców, Margarete i Stanisława Kubickich = Die Kunstwerke der Gruppe BUNT kehren in ihre Heimat zurück. Mit Prof. St. Karol Kubicki, der polnischen Museen Werke aus seiner Berliner Sammlung schenkt, spricht die Autorin der Monographie zum Kunstschaffen seiner Eltern, Dr. Lidia Głuchowska, in: Bunt – Ekspresjonizm – Transgraniczna awangarda/ Bunt – Expressionismus – Grenzübergreifende Avantgarde, ed. Lidia Głuchowska Poznań: Muzeum Narodowe, 2015, pp. 18–85.
Bunt – Ekspresjonizm – Transgraniczna awangarda. Prace z berlińskiej kolekcji prof. St. Karola Kubickiego/ Bunt – Expressionismus – Grenzübergreifende Avantgarde. Werke aus Berliner Sammlung von Prof. St. Karol Kubicki, ed. Lidia Głuchowska, Poznań: Muzeum Narodowe, 2015, 208 pages, ISBN: 978–83–64080–13–5.
There are several revisions of this book
1. Przemysław Strożek, in: Umeni/ Art 2016/ LXIV(2), p. 303–305.
2. Marta Famula, in: Expressionismus 2015/ 2.
3. Der Sturm und Die Aktion (Expressionism. Der Sturm and Die Aktion) 2017/ 5, pp. 118–119.
4. Janina Wallis, in: Universytet Zielonogórski (Monthly of the Academic Community) 2017/ 3(241), pp. 25–26.
5. Steven Mansbach, Brigitta Helbig-Mischewski, Waldemar Okoń (fragments of book reviews in Polish, English and German, in: https://ewamaria2013texts.wordpress.com/2015/12/10/17526/.
6. Redakcja/ Editorial, in: http://www.okis.pl/site/wydawnictwaa/n/1/n/1/1942/n.html#!shadowbox/0/.
Research Interests: Transnationalism, German Expressionism, Prints (Art History), 20th century Avant-Garde, Henryk Berlewi, and 11 moreGerman Avant-Garde, Polish avant-garde art in the interwar period, polish expressionism, Stanislaw Kubicki, Jankel Adler, Polish expressionist group Bunt (Revolt), Margarete Kubicki, Jerzy Hulewicz, Littel Magazines, Marek Szwarc, and Franz Wilhelm Seiwert
This publication accompanied the 20th Anniversary exhibition of the artists/collaborarotrs of the Institute of Fine Arts, University Zielona Gora. The presented works belonged to the different disciplines of visual arts - paintings,... more
This publication accompanied the 20th Anniversary exhibition of the artists/collaborarotrs of the Institute of Fine Arts, University Zielona Gora. The presented works belonged to the different disciplines of visual arts - paintings, installations, art prints, films.
My input was to providee an idea of the whole publication and interpret the achievements of the twenty 20 artists. I produced the biographical information and was a scientific and linguistic editor of the whole book. Dr Artur Pastuszek wrote an accompanying philosophical essay, Leszek Kania and Kurt Panning prepared the short preface.
FRAGMENT OF THE REVIEW:
Ogrody/Gärten to publikacja (i wystawa), która buduje nową wartość w tym, co już artystyczne (Parku Mużakowskim), a podejmując dyskurs na temat ogrodów, wprowadza go na metapoziom, w którym ogród nabiera wymiaru ideowego i metaforycznego zarazem. O ogrodach w ogrodzie, o krajobrazach w krajobrazach – mówić można tylko obrazami i metaforami. Ta publikacja otwiera taką możliwość, rozbrzmiewając na trzech poziomach: teoretycznym, artystycznym i ideowym, jeżeli za ideę uznać naturalne medium Parku Mużakowskiego.
Prof. UAM dr hab. Beata Frydryczak, Uniwersytet Adama Mickiewicza w Poznaniu Instytut Kultury Europejskiej UAM w Gnieźnie
Gärten/Ogrody ist eine Veröffentlichung (und Ausstellung), welche einen neuen Wert in dem schafft, was künstlerisch schon vorhanden ist (also im Muskauer Park), und einen Diskurs über Gärten nicht nur einleitet, sondern diesen sogleich auf eine Metaebene hebt, auf welcher ein Garten eine ideelle und gleichzeitig eine metaphorische Dimension innehat. Über Gärten im Garten zu sprechen, über Landschaften in Landschaften – das kann man nur in Bildern und Metaphern. Dieses Buch eröffnet die Möglichkeit dazu auf drei Ebenen zugleich – auf der theoretischen, der künstlerischen und der ideellen, sofern man das natürliche Medium des Muskauer Parks als Idee betrachtet.
Prof. Dr. habil. Beata Frydryczak, Adam Mickiewicz-Universität Poznań Institut für Europäische Kultur der Adam Mickiewicz-Universität in Gniezno
My input was to providee an idea of the whole publication and interpret the achievements of the twenty 20 artists. I produced the biographical information and was a scientific and linguistic editor of the whole book. Dr Artur Pastuszek wrote an accompanying philosophical essay, Leszek Kania and Kurt Panning prepared the short preface.
FRAGMENT OF THE REVIEW:
Ogrody/Gärten to publikacja (i wystawa), która buduje nową wartość w tym, co już artystyczne (Parku Mużakowskim), a podejmując dyskurs na temat ogrodów, wprowadza go na metapoziom, w którym ogród nabiera wymiaru ideowego i metaforycznego zarazem. O ogrodach w ogrodzie, o krajobrazach w krajobrazach – mówić można tylko obrazami i metaforami. Ta publikacja otwiera taką możliwość, rozbrzmiewając na trzech poziomach: teoretycznym, artystycznym i ideowym, jeżeli za ideę uznać naturalne medium Parku Mużakowskiego.
Prof. UAM dr hab. Beata Frydryczak, Uniwersytet Adama Mickiewicza w Poznaniu Instytut Kultury Europejskiej UAM w Gnieźnie
Gärten/Ogrody ist eine Veröffentlichung (und Ausstellung), welche einen neuen Wert in dem schafft, was künstlerisch schon vorhanden ist (also im Muskauer Park), und einen Diskurs über Gärten nicht nur einleitet, sondern diesen sogleich auf eine Metaebene hebt, auf welcher ein Garten eine ideelle und gleichzeitig eine metaphorische Dimension innehat. Über Gärten im Garten zu sprechen, über Landschaften in Landschaften – das kann man nur in Bildern und Metaphern. Dieses Buch eröffnet die Möglichkeit dazu auf drei Ebenen zugleich – auf der theoretischen, der künstlerischen und der ideellen, sofern man das natürliche Medium des Muskauer Parks als Idee betrachtet.
Prof. Dr. habil. Beata Frydryczak, Adam Mickiewicz-Universität Poznań Institut für Europäische Kultur der Adam Mickiewicz-Universität in Gniezno
Research Interests:
This is a volume accompanying the international tour of the exhibition Bunt (Revolt) - Expressionism - Transborder Avantgarde. Artpieces from the Berlin Collection of Professor St. Karol Kubicki in 2015, honouring professor`s Kubicki... more
This is a volume accompanying the international tour of the exhibition
Bunt (Revolt) - Expressionism - Transborder Avantgarde. Artpieces from the Berlin Collection of Professor St. Karol Kubicki in 2015,
honouring professor`s Kubicki donation for the Polish museums.
It includes essays concerning expressionist art printing and the reception of the manifests and aesthetics of the expressionist group Bunt (Revolt, 1918-1922) in the contemporary art, especcially print making.
The volume includs contributions of several acknowledged researchers and artists.
SUMMARIES IN ENGLISH
Bunt (Revolt) - Expressionism - Transborder Avantgarde. Artpieces from the Berlin Collection of Professor St. Karol Kubicki in 2015,
honouring professor`s Kubicki donation for the Polish museums.
It includes essays concerning expressionist art printing and the reception of the manifests and aesthetics of the expressionist group Bunt (Revolt, 1918-1922) in the contemporary art, especcially print making.
The volume includs contributions of several acknowledged researchers and artists.
SUMMARIES IN ENGLISH
Research Interests: German Expressionism, Social Activism, Avant-Garde, Prints (Art History), 20th century Avant-Garde, and 9 more20th Century Art, Neo-avantgarde, Polish avant-garde art in the interwar period, polish expressionism, Stanislaw Kubicki, Avantgarde Yiddish, Polish expressionist group Bunt (Revolt), Margarete Kubicki, and Linocut
This issue of the cultural magazine is devoted to the live and oeuvre of the Polish/German artistic couple Maragrete and Stanislaw Kubicki, who acted as mediators between Both artistic scenes and the international artistic circles of the... more
This issue of the cultural magazine is devoted to the live and oeuvre of the Polish/German artistic couple Maragrete and Stanislaw Kubicki, who acted as mediators between Both artistic scenes and the international artistic circles of the intrewar period.
I included in it also a long review with their son, Professor St. Karol Kubicki, who supported many museums and artistic organisations, and international researches before hie died in 2019.
The great value of the volume is also a big selection of seldom printed reproductions of artistic works by Margarete and Stanislaw Kubicki.
DEUTSCH
Das bildende und literarische Werk von Margarete (1891-1984) und Stanislaw (1889-1942?)Kubicki gehört zu den interessantesten Phänomenen polnischer und europäischer Kunst der Zwischenkriegszeit. Kubicki wurde zum herausragendsten Vertreter des Expressionismus und ersten konsequenten abstrakten Maler in Polen. Er gehörte gleichzeitig zu den Wegbereitern der prometheischen Strömung der polnischer Avantgarde, die die Utopie des neuen Menschen und der neuen Gemeinschaft lebte. Die Aquarellfolgen von Margarete Kubicka bestechen mit der Transparenz der Farbe, womit sie die Werke Delaunays i Jawlenskys in Erinnerung rufen. Die Zeichnungen, Linolschnitte und Gemälde ihres Mannes erinnern von der formellen Disziplin her an die geometrische Abstraktion eines Malewitsch und Mondrians, und verraten die Affinität Kubickis zur Naturwissenschaft und Philosophie. Die beiden Kubickis vermittelten Kontakte zwischen der Posener Expressionistenvereinigung Bunt(Revolte) (1917-1922), die sich um die Kunstzeitschrift „Zdrój” (Quelle) gruppierte, und der Berliner Kunstzeitschrift und Galerie „Die Aktion”. Sie initiierten die Verlags- und Ausstellungskontakte polnischer Künstler in Deutschland. Ende 1918 reisten sie nach Berlin aus, wo sie sich dem dortigem Kunstleben angeschlossen haben. Ihre graphischen und literarischen Werke erschienen in den Zeitschriften „Der Sturm”, „Der Weg”, „Die Bücherkiste” und „a bis z”. 1920 stellte Kubicki als einer der wenigen polnischen Kunstschaffenden seine Arbeiten in der renommiertesten Galerie der Avantgarde „Der Sturm”. 1922 vertraten die beiden Kubickis Polen auf dem Kongress der Union Fortschrittlicher Internationaler Künstlerin Düsseldorf, dem wichtigsten Auftritt der polnischen Avantgarde in der Zwischenkriegszeit, dem Initiationsmoment der sogenannten Konstruktivistischen Internationale. Im selben Jahr organisierten sie auch in Berlin die Internationale Ausstellung revolutionärer Künstler. 1922 waren się Mitbegründer der Gruppe Die Kommune, und 1923der Gruppe progressiver Künstler, mit der sie ihre Werke in verschiedenen Städten Deutschlands und in Chicago ausgestellt haben. Die Kubickis wirkten vor allem im internationalen Künstlerkreis Berlins und kooperierten u.a. mit den Dadaisten Johannes Baader und Raoul Hausmann. Zu ihrem Bekanntenkreis zählten auch Schauspieler von Erwin Piscators Theater, sowie Maler Georg Grosz, Marc Chagall, Kasimir Malewitsch oder der herausragende Fotograf August Sander. Ihr Atelierwurde zu einer Begegnungsstätte von Expressionisten der Gruppe Bunt aus Posen und der Jung Idysz aus Łódź. Vorübergehend wohnten und schufen dort Jankel Adler, Pola Lindenfeld und Artur Nacht-Samborski. Nach der Machtergreifung Hitlers begab sich Kubicki nach Polen und während des Zweiten Weltkriegs wirkte als Kurier der polnischen Widerstandsbewegung. 1942 wurde er im Gefängnis Pawiak zu Tode gefoltert. Kubicka überlebte den Krieg und konnte zahlreiche Werke ihres Mannes und der gemeinsamen Künstlerfreunden retten. Sie blieb künstlerisch bis zu ihrem Tode im Jahre 1984 tätig.
Nur in den letzten Jahren wurden Werke der Kubickis u.a. in Los Angeles, Posen, Breslau, Brüssel oder Toulon, und vor kurzem auf der Ausstellung „Wir Berliner. Geschichte einer deutsch-polnischen Nachbarschaft“ gezeigt. Eine retrospektive Schauihres Schaffens wird zur Zeit im Nationalmuseum Warschau vorbereitet. Der Sohn von Margarete und Stanislaw Kubicki, Professor S. Karol Kubicki, war Mitbegründer und der erste immatrikulierte Student der Freien Universität zu Berlin.
POLSKI
Twórczość plastyczna i literacka Margarete (1891-1984) i Stanisława (1889-1942?) Kubickich zaliczana jest do najciekawszych zjawisk polskiej i europejskiej sztuki okresu międzywojennego. Kubickiego charakteryzowano jako najwybitniejszego przedstawiciela ekspresjonizmu i pierwszego konsekwentnego abstrakcjonistę w Polsce, a także za jednego z prekursorów prometejskiego nurtu polskiej awangardy, żyjącej utopią nowego człowieka i nowej wspólnoty. Serie akwarel Margarete Kubickiej urzekają świetlistością barw przywodzącą na myśl dzieła Delaunaya i Jawlensky’ego. Wyraziste formalnie rysunki, linoryty i obrazy jej męża, bliskie abstrakcji geometrycznej Malewicza i Mondriana,ujawniają jego pasję przyrodoznawczą i filozoficzną.Oboje Kubiccy pośredniczyli w kontaktach poznańskiej ekspresjonistycznej grupy Bunt(1917-1922),skupionej wokół czasopisma artystycznego Zdrój, i berlińskiego pisma oraz galerii Die Aktion. Zainicjowali wydawnicze i wystawiennicze kontakty artystów polskich w Niemczech. Z końcem 1918 r.wyjechali do Berlina, gdzie właczyli się w tamtejsze życie artystyczne. Ich prace graficzne i literackie ukazywały się w „Der Sturm”, „Der Weg”, „Die Bücherkiste” i w „a bis z”. W 1920 r. Kubicki jako jeden z nielicznych polskich twórców wystawiał w najsłynniejszej galerii awangardy Der Sturm. W 1922 roku oboje Kubiccy reprezentowali Polskę na Kongresie Międzynarodowej Unii Artystów Postępowych w Düsseldorfie, najważniejszym wystąpieniu polskiej awangardy w okresie międzywojennym, zapoczątkowującym istnienie tzw. Międzynarodówki Konstruktywistycznej. W tymże roku zorganizowali też w Berlinie Międzynarodową Wystawę Artystów Rewolucyjnych. W 1922 r. współtworzyli grupę Die Kommune, a w 1923 Gruppe progressiver Künstler, z którą wystawiali w różnych miastych Niemiec oraz w Chicago. Kubiccy tworzyli głównie w międzynarodowym środowisku artystycznym Berlina, współpracując choćby z dadaistami Johannesem Baaderem i Raoulem Hausmanem. Do kręgu ich znajomych należeli także aktorzy teatru Erwina Piscatora, Georg Grosz,Marc Chagall, Kazimierz Malewicz czy wybitny fotograf, August Sander. Ich pracownia była miejscem spotkań ekspresjonistów z poznańskiej grupy Bunt i łódzkiej Jung Idysz. Przejściowo mieszali i tworzyli tam Jankiel Adler, Pola Lindenfeldówna i Artur Nacht-Samborski. Po dojściu Hitlera do władzy Kubicki przyjechał do Polski i działał jako kurier polskiego ruchu oporu.Został zamęczony na Pawiaku w 1942 r. Kubicka,przeżyła wojnę, ratując wiele prac męża i wspólnych przyjaciół. Pozostała czynna artystycznie do swej śmierci w 1984 r
Tylko w ostatnich latach prace Kubickich i ich przyjaciół pokazywano m.in. w Los Angeles, Po-znaniu, Wrocławiu, Brukseli czy Tulonie, a całkiem niedawno na ekspozycji My, berlińczycy. Historia polsko-niemieckiego sąsiedztwa. Ich retrospektywna wystawa przygotowywana jest obecnie w Muzeum Narodowym w Warszawie.Syn Margarete i Stanisława Kubickich, prof. S. Karol Kubicki, był współzałożycielem i pierwszymimmatrykulowanym studentem Wolnego Uniwersytetu w Berlinie.
I included in it also a long review with their son, Professor St. Karol Kubicki, who supported many museums and artistic organisations, and international researches before hie died in 2019.
The great value of the volume is also a big selection of seldom printed reproductions of artistic works by Margarete and Stanislaw Kubicki.
DEUTSCH
Das bildende und literarische Werk von Margarete (1891-1984) und Stanislaw (1889-1942?)Kubicki gehört zu den interessantesten Phänomenen polnischer und europäischer Kunst der Zwischenkriegszeit. Kubicki wurde zum herausragendsten Vertreter des Expressionismus und ersten konsequenten abstrakten Maler in Polen. Er gehörte gleichzeitig zu den Wegbereitern der prometheischen Strömung der polnischer Avantgarde, die die Utopie des neuen Menschen und der neuen Gemeinschaft lebte. Die Aquarellfolgen von Margarete Kubicka bestechen mit der Transparenz der Farbe, womit sie die Werke Delaunays i Jawlenskys in Erinnerung rufen. Die Zeichnungen, Linolschnitte und Gemälde ihres Mannes erinnern von der formellen Disziplin her an die geometrische Abstraktion eines Malewitsch und Mondrians, und verraten die Affinität Kubickis zur Naturwissenschaft und Philosophie. Die beiden Kubickis vermittelten Kontakte zwischen der Posener Expressionistenvereinigung Bunt(Revolte) (1917-1922), die sich um die Kunstzeitschrift „Zdrój” (Quelle) gruppierte, und der Berliner Kunstzeitschrift und Galerie „Die Aktion”. Sie initiierten die Verlags- und Ausstellungskontakte polnischer Künstler in Deutschland. Ende 1918 reisten sie nach Berlin aus, wo sie sich dem dortigem Kunstleben angeschlossen haben. Ihre graphischen und literarischen Werke erschienen in den Zeitschriften „Der Sturm”, „Der Weg”, „Die Bücherkiste” und „a bis z”. 1920 stellte Kubicki als einer der wenigen polnischen Kunstschaffenden seine Arbeiten in der renommiertesten Galerie der Avantgarde „Der Sturm”. 1922 vertraten die beiden Kubickis Polen auf dem Kongress der Union Fortschrittlicher Internationaler Künstlerin Düsseldorf, dem wichtigsten Auftritt der polnischen Avantgarde in der Zwischenkriegszeit, dem Initiationsmoment der sogenannten Konstruktivistischen Internationale. Im selben Jahr organisierten sie auch in Berlin die Internationale Ausstellung revolutionärer Künstler. 1922 waren się Mitbegründer der Gruppe Die Kommune, und 1923der Gruppe progressiver Künstler, mit der sie ihre Werke in verschiedenen Städten Deutschlands und in Chicago ausgestellt haben. Die Kubickis wirkten vor allem im internationalen Künstlerkreis Berlins und kooperierten u.a. mit den Dadaisten Johannes Baader und Raoul Hausmann. Zu ihrem Bekanntenkreis zählten auch Schauspieler von Erwin Piscators Theater, sowie Maler Georg Grosz, Marc Chagall, Kasimir Malewitsch oder der herausragende Fotograf August Sander. Ihr Atelierwurde zu einer Begegnungsstätte von Expressionisten der Gruppe Bunt aus Posen und der Jung Idysz aus Łódź. Vorübergehend wohnten und schufen dort Jankel Adler, Pola Lindenfeld und Artur Nacht-Samborski. Nach der Machtergreifung Hitlers begab sich Kubicki nach Polen und während des Zweiten Weltkriegs wirkte als Kurier der polnischen Widerstandsbewegung. 1942 wurde er im Gefängnis Pawiak zu Tode gefoltert. Kubicka überlebte den Krieg und konnte zahlreiche Werke ihres Mannes und der gemeinsamen Künstlerfreunden retten. Sie blieb künstlerisch bis zu ihrem Tode im Jahre 1984 tätig.
Nur in den letzten Jahren wurden Werke der Kubickis u.a. in Los Angeles, Posen, Breslau, Brüssel oder Toulon, und vor kurzem auf der Ausstellung „Wir Berliner. Geschichte einer deutsch-polnischen Nachbarschaft“ gezeigt. Eine retrospektive Schauihres Schaffens wird zur Zeit im Nationalmuseum Warschau vorbereitet. Der Sohn von Margarete und Stanislaw Kubicki, Professor S. Karol Kubicki, war Mitbegründer und der erste immatrikulierte Student der Freien Universität zu Berlin.
POLSKI
Twórczość plastyczna i literacka Margarete (1891-1984) i Stanisława (1889-1942?) Kubickich zaliczana jest do najciekawszych zjawisk polskiej i europejskiej sztuki okresu międzywojennego. Kubickiego charakteryzowano jako najwybitniejszego przedstawiciela ekspresjonizmu i pierwszego konsekwentnego abstrakcjonistę w Polsce, a także za jednego z prekursorów prometejskiego nurtu polskiej awangardy, żyjącej utopią nowego człowieka i nowej wspólnoty. Serie akwarel Margarete Kubickiej urzekają świetlistością barw przywodzącą na myśl dzieła Delaunaya i Jawlensky’ego. Wyraziste formalnie rysunki, linoryty i obrazy jej męża, bliskie abstrakcji geometrycznej Malewicza i Mondriana,ujawniają jego pasję przyrodoznawczą i filozoficzną.Oboje Kubiccy pośredniczyli w kontaktach poznańskiej ekspresjonistycznej grupy Bunt(1917-1922),skupionej wokół czasopisma artystycznego Zdrój, i berlińskiego pisma oraz galerii Die Aktion. Zainicjowali wydawnicze i wystawiennicze kontakty artystów polskich w Niemczech. Z końcem 1918 r.wyjechali do Berlina, gdzie właczyli się w tamtejsze życie artystyczne. Ich prace graficzne i literackie ukazywały się w „Der Sturm”, „Der Weg”, „Die Bücherkiste” i w „a bis z”. W 1920 r. Kubicki jako jeden z nielicznych polskich twórców wystawiał w najsłynniejszej galerii awangardy Der Sturm. W 1922 roku oboje Kubiccy reprezentowali Polskę na Kongresie Międzynarodowej Unii Artystów Postępowych w Düsseldorfie, najważniejszym wystąpieniu polskiej awangardy w okresie międzywojennym, zapoczątkowującym istnienie tzw. Międzynarodówki Konstruktywistycznej. W tymże roku zorganizowali też w Berlinie Międzynarodową Wystawę Artystów Rewolucyjnych. W 1922 r. współtworzyli grupę Die Kommune, a w 1923 Gruppe progressiver Künstler, z którą wystawiali w różnych miastych Niemiec oraz w Chicago. Kubiccy tworzyli głównie w międzynarodowym środowisku artystycznym Berlina, współpracując choćby z dadaistami Johannesem Baaderem i Raoulem Hausmanem. Do kręgu ich znajomych należeli także aktorzy teatru Erwina Piscatora, Georg Grosz,Marc Chagall, Kazimierz Malewicz czy wybitny fotograf, August Sander. Ich pracownia była miejscem spotkań ekspresjonistów z poznańskiej grupy Bunt i łódzkiej Jung Idysz. Przejściowo mieszali i tworzyli tam Jankiel Adler, Pola Lindenfeldówna i Artur Nacht-Samborski. Po dojściu Hitlera do władzy Kubicki przyjechał do Polski i działał jako kurier polskiego ruchu oporu.Został zamęczony na Pawiaku w 1942 r. Kubicka,przeżyła wojnę, ratując wiele prac męża i wspólnych przyjaciół. Pozostała czynna artystycznie do swej śmierci w 1984 r
Tylko w ostatnich latach prace Kubickich i ich przyjaciół pokazywano m.in. w Los Angeles, Po-znaniu, Wrocławiu, Brukseli czy Tulonie, a całkiem niedawno na ekspozycji My, berlińczycy. Historia polsko-niemieckiego sąsiedztwa. Ich retrospektywna wystawa przygotowywana jest obecnie w Muzeum Narodowym w Warszawie.Syn Margarete i Stanisława Kubickich, prof. S. Karol Kubicki, był współzałożycielem i pierwszymimmatrykulowanym studentem Wolnego Uniwersytetu w Berlinie.
Research Interests:
This book accompanied a retrospective exhibitions of the Department of Graphics at The University of Zielona Gora, which was part of a programm of the International Graphic Triennal in Cracow in 2015. My input was to give an... more
This book accompanied a retrospective exhibitions of the Department of Graphics at The University of Zielona Gora, which was part of a programm of the International Graphic Triennal in Cracow in 2015.
My input was to give an interpretation of the works of the 18 artists connected with the Graphics Department, the University of Zielona Góra within the years 2006–2015. I provided the essay titled Graficzne retro spectio – obecność, znakowość, proces. The co-author edited the introductory chapter and selected the pieces of art to include in this publication as well as to display at the Międzynarodowe Triennale Grafiki in Krakowie.
My input was to give an interpretation of the works of the 18 artists connected with the Graphics Department, the University of Zielona Góra within the years 2006–2015. I provided the essay titled Graficzne retro spectio – obecność, znakowość, proces. The co-author edited the introductory chapter and selected the pieces of art to include in this publication as well as to display at the Międzynarodowe Triennale Grafiki in Krakowie.
Research Interests:
This book –catalogue contains is my critical retrospective text on the painting by Jaroslaw Lukasik written on the occasion of his exhibition in the Gallery Arsenal, Poznan/Poland, 2007.
Polish & English version.
Polish & English version.
Research Interests:
GERMAN VERSION ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA.EDU in it: 1/ Lidia Głuchowska, Ekspresjonizm w sztuce polskiej – przegląd najważniejszych zjawisk, in: Malarz. Mentor. Mag. Otto Mueller a środowisko artystyczne Wrocławia, ed.... more
GERMAN VERSION ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA.EDU
in it:
1/
Lidia Głuchowska, Ekspresjonizm w sztuce polskiej – przegląd najważniejszych zjawisk, in: Malarz. Mentor. Mag. Otto Mueller a środowisko artystyczne Wrocławia, ed. Dagmar Schmengler, Lidia Głuchowska, Agnes Kern, Heidelberg: Kehrer, 2019, pp. 378–392
2/
Lidia Głuchowska, Sztuka, polityka i eskapizm. Artysta-wieszcz i konstruktorzy „nowego świata” awangardy w historii polskiej sztukii kultury, in: Malarz. Mentor. Mag. Otto Mueller a środowisko artystyczne Wrocławia, pp. 402–411.
3/
Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Od redakcji, in: Malarz. Mentor. Mag. Otto Mueller a środowisko artystyczne Wrocławia, pp. 13–15.
Malarz i grafik Otto Mueller (1874–1930) zyskał międzynarodowy rozgłos jako przedstawiciel grupy Brücke. Mniej znanym faktem jest, iż przez ponad dziesięć lat jako wykładowca na Państwowej Akademii Sztuki i Rzemiosła Artystycznego we Wrocławiu wywierał istotny wpływ na szeroki krąg twórców sztuki i kultury. Do bliskich współpracowników i przyjaciół Ottona Muellera należeli artyści, architekci, krytycy sztuki, pisarze, kolekcjonerzy i studenci.W 1919 r. Otto Mueller wyjechał z Berlina do Wrocławia. Liberalna atmosfera i otwartość władz tamtejszej Akademii na nowe trendy w sztuce sprawiły, że uczelnia ta stała się ważnym centrum propagującym modernizm.W połowie lat dwudziestych w jej ofercie dydak¬tycznej uwzględniano na równych prawach ekspre¬sjonizm, typowy dla dzieł Ottona Muellera, tendencje charakterystyczne dla Academie Matisse i malar¬stwa Oskara Molla, Nową Rzeczowość, reprezentowaną przez prace Alexandra Kanoldta i Carla Mensego oraz styl Bauhausu, znamionujący twórczość Oskara Schlemmera, Georga Muchego czy Johannesa Molzahna.Impulsem stymulującym rozwój Akademii była bliskość środowisk artystycznych i intelektualnych Wrocławia i Berlina. Znaczący wpływ na życie kulturalne uczelni wywierał jednak przede wszystkim charyzmatyczny profesor malarstwa – Otto Mueller. Niniejsza publikacja i towarzysząca jej wystawa są rezultatem polsko¬niemieckiego projektu. Ukazują one Ottona Muellera z różnych perspektyw – w potrójnej roli malarza, mentora i maga.
in it:
1/
Lidia Głuchowska, Ekspresjonizm w sztuce polskiej – przegląd najważniejszych zjawisk, in: Malarz. Mentor. Mag. Otto Mueller a środowisko artystyczne Wrocławia, ed. Dagmar Schmengler, Lidia Głuchowska, Agnes Kern, Heidelberg: Kehrer, 2019, pp. 378–392
2/
Lidia Głuchowska, Sztuka, polityka i eskapizm. Artysta-wieszcz i konstruktorzy „nowego świata” awangardy w historii polskiej sztukii kultury, in: Malarz. Mentor. Mag. Otto Mueller a środowisko artystyczne Wrocławia, pp. 402–411.
3/
Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Od redakcji, in: Malarz. Mentor. Mag. Otto Mueller a środowisko artystyczne Wrocławia, pp. 13–15.
Malarz i grafik Otto Mueller (1874–1930) zyskał międzynarodowy rozgłos jako przedstawiciel grupy Brücke. Mniej znanym faktem jest, iż przez ponad dziesięć lat jako wykładowca na Państwowej Akademii Sztuki i Rzemiosła Artystycznego we Wrocławiu wywierał istotny wpływ na szeroki krąg twórców sztuki i kultury. Do bliskich współpracowników i przyjaciół Ottona Muellera należeli artyści, architekci, krytycy sztuki, pisarze, kolekcjonerzy i studenci.W 1919 r. Otto Mueller wyjechał z Berlina do Wrocławia. Liberalna atmosfera i otwartość władz tamtejszej Akademii na nowe trendy w sztuce sprawiły, że uczelnia ta stała się ważnym centrum propagującym modernizm.W połowie lat dwudziestych w jej ofercie dydak¬tycznej uwzględniano na równych prawach ekspre¬sjonizm, typowy dla dzieł Ottona Muellera, tendencje charakterystyczne dla Academie Matisse i malar¬stwa Oskara Molla, Nową Rzeczowość, reprezentowaną przez prace Alexandra Kanoldta i Carla Mensego oraz styl Bauhausu, znamionujący twórczość Oskara Schlemmera, Georga Muchego czy Johannesa Molzahna.Impulsem stymulującym rozwój Akademii była bliskość środowisk artystycznych i intelektualnych Wrocławia i Berlina. Znaczący wpływ na życie kulturalne uczelni wywierał jednak przede wszystkim charyzmatyczny profesor malarstwa – Otto Mueller. Niniejsza publikacja i towarzysząca jej wystawa są rezultatem polsko¬niemieckiego projektu. Ukazują one Ottona Muellera z różnych perspektyw – w potrójnej roli malarza, mentora i maga.
Research Interests:
POLISH VERSION OF THE BOOK ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA EDU articles by Lidia Gluchowska in this book: 1/ Lidia Głuchowska, Der Expressionismus in der polnischen Kunst – ein Überblick, in: Maler. Mentor. Magier. Otto... more
POLISH VERSION OF THE BOOK
ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA EDU
articles by Lidia Gluchowska in this book:
1/
Lidia Głuchowska, Der Expressionismus in der polnischen Kunst – ein Überblick, in: Maler. Mentor. Magier. Otto Mueller und sein Netzwerk in Breslau, eds. Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Heidelberg: Kehrer, 2018, ISBN 978-3-86828-873-5, pp. 378–392.
2/
Lidia Głuchowska, Kunst, Politik und Eskapismus. Expressionistische Künstler-Seher und avantgardistische Konstrukteure der Welt in der polnischen Kunst- und Kulturgeschichte, in: Maler. Mentor. Magier. Otto Mueller und sein Netzwerk in Breslau, eds Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Heidelberg: Kehrer, 2018, ISBN 978-3-86828-873-5, pp. 402–411.
3/
Dagmar Schmengler, Agnes Kern, Lidia Głuchowska, Vorwort, in: Maler. Mentor. Magier. Otto Mueller und sein Netzwerk in Breslau, eds Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Heidelberg: Kehrer, 2018, ISBN 978-3-86828-873-5, pp. 13–15.
ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA EDU
articles by Lidia Gluchowska in this book:
1/
Lidia Głuchowska, Der Expressionismus in der polnischen Kunst – ein Überblick, in: Maler. Mentor. Magier. Otto Mueller und sein Netzwerk in Breslau, eds. Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Heidelberg: Kehrer, 2018, ISBN 978-3-86828-873-5, pp. 378–392.
2/
Lidia Głuchowska, Kunst, Politik und Eskapismus. Expressionistische Künstler-Seher und avantgardistische Konstrukteure der Welt in der polnischen Kunst- und Kulturgeschichte, in: Maler. Mentor. Magier. Otto Mueller und sein Netzwerk in Breslau, eds Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Heidelberg: Kehrer, 2018, ISBN 978-3-86828-873-5, pp. 402–411.
3/
Dagmar Schmengler, Agnes Kern, Lidia Głuchowska, Vorwort, in: Maler. Mentor. Magier. Otto Mueller und sein Netzwerk in Breslau, eds Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Heidelberg: Kehrer, 2018, ISBN 978-3-86828-873-5, pp. 13–15.
Research Interests:
This publication accompanied the exhibition Expressions of Freedom. Bunt (Revolt) and Yung Yidish. The Exhibition that never took place in the Municipal Museum in Lodz/Poland in 2019. It contains my comments on several art works,... more
This publication accompanied the exhibition
Expressions of Freedom. Bunt (Revolt) and Yung Yidish. The Exhibition that never took place
in the Municipal Museum in Lodz/Poland in 2019.
It contains my comments on several art works, especcially from the Kubicki-Archive in Berlin
Expressions of Freedom. Bunt (Revolt) and Yung Yidish. The Exhibition that never took place
in the Municipal Museum in Lodz/Poland in 2019.
It contains my comments on several art works, especcially from the Kubicki-Archive in Berlin
Research Interests:
This publications accompanied the exhibition Expressions of Freedom. Bunt (Revolt) and Yung Yiddish. An exhibition that never took place in the Museum of City of Lodz in 2019. It contains my comments on the contacts of the both mentioned... more
This publications accompanied the exhibition
Expressions of Freedom. Bunt (Revolt) and Yung Yiddish. An exhibition that never took place in the Museum of City of Lodz in 2019.
It contains my comments on the contacts of the both mentioned groups in Berlin and Rhineland.
Expressions of Freedom. Bunt (Revolt) and Yung Yiddish. An exhibition that never took place in the Museum of City of Lodz in 2019.
It contains my comments on the contacts of the both mentioned groups in Berlin and Rhineland.