Search results for phrase "the Volto Santo"
The Robe of Corporeality: Sensual Aspects of Medieval Representations of Crucified Christ in the Tunica Manicata
Käthe Kollwitz and Otto Nagel: Two Exhibitions of “Progressive Artists” at the Zachęta in the Framework of Cultural Cooperation with the German Democratic Republic
The Memory of Opulence and the Freedom of a Pauper: The Constructionmaterial Discourse in the Polish Construction Industry in the Period of the Thaw
The Dissident Power of Queer Art and Curating in Central Eastern Europe
The Icons of Military Saints in Rus’. An Attempt at Classifying Iconographic Types from before the Beginning of the 17th Century
Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era
“Perceived with Hebrew Sense and Hebrew Instinct” – “Close to the Christian Ideal”: Polish Art Criticism on Maurycy Gottlieb’s Christ Preaching at Capernaum (1878–1879)
Applying the Avant-Garde: Display Experience in the Exhibition of Modern Art (1948)
The Changing Perception of the Five Senses
A Church for the Polish People: On the Contest for the Parochial Church in the Warsaw District of Praga
“Our ‘I’ and History”: The Polish Reception of Walter Pater
“The War Brought Us Close and the Peace Will Not Divide Us”: Exhibitions of Art from Czechoslovakia in Warsaw in the Late 1940s
Old Believers and the World of Evil: Images of Evil Forces in Old Believer Art
The Impact of Historic Events on the Formation of the Creative Method of Ernest Kontratovych in the Early Period (1930s-1940s)
The Exhibition-Organising Activity of the Committee for Cultural Cooperation with Foreign Countries (1950–1956) Based on the Example of Selected Exhibitions at the Zachęta Central Bureau of Art Exhibitions
The Organic Quality of Visual Form: The Artistic Bond between Zdzisław Ruszkowski and Henry Moore
Archaeology of the present. Israeli art after the Al-Aqsa Intifada
The Icon of the Holy Unmercenaries (Greek: Άγιοι Ανάργυροι) Cosmas and Damian, as Bequeathed by Zofia Ruebenbauer, in the Collection of the National Museum in Cracow
“Mary has filled me with amazement that she gave milk to the One who feeds the multitudes”: Notes on the Byzantine Iconography of Maria Galaktotrophousa
Much Ado About Nothing? Political Contexts of the 15 Polish Painters Exhibition (MoMA, 1961)