Academic literature on the topic 'Muzeum Etnograficzne (Poznań, Poland)'

The late medieval panel painting of the Assumption of Virgin Mary from the Collection of the National Museum in Poznań was most likely created in Greater Poland (Wielkopolska), probably in Poznań, in the early 16th century. Scholars have pointed out the connection of its iconography with several other art pieces from the area of Greater Poland. In the light of these findings, our painting seemed to be traditional in the terms of form, as well as of content. This paper shows that some formal solutions and motifs used in the painting from Poznań differ from a typical iconographic practice, and it has only partial coverage in literary sources. The Apostles’ behaviour not fully corresponding to the subject and the chair in which an unidentified Apostle is sitting in a strangely complicated pose by the sarcophagus are the exceptional traits of the Poznań painting. The reason for their presence is the fact that the painter quoted a large part of the copperplate engraving of the Netherlandish Master IAM of Zwolle on a completely different subject: the Last Supper. The painter repeated selected elements quite accurately, without trying too much to adopt them to the new context. The Poznań painting is one of the countless examples of the use of prints as a pattern in the late medieval workshop practice. But at the same time, it belongs to the smaller in number works that were created in a more sophisticated way, through a compilation of motifs taken from various sources, combined with iconographic transformations. The paintings of Jörg Stoker, active in Ulm, and the prominent Antwerp artist Joos van Cleve analysed in the paper, are the examples of the application of a similar creative procedure. The last part of the text is devoted to the reception of the copperplate engraving by Master IAM of Zwolle, which determined so markedly the form and iconography of the painting at the National Museum in Poznań. The range of impact of this pattern, including Northern France, Greater Poland, Austria, Southern Germany (?), Northern Italy, Sardinia and Castilla, illustrates how universal, despite all the regional differences, the visual culture of Latin Europe was at the time.

Roma Caravan Memorial as an example of pro motion of knowledge about Roma by the Ethnographic Muse um in TarnówThe first Roma Caravan Memorial set off from outside the Ethnographic Museum in Tarnów in 1996. It was organised by Adam Bartosz, an expert on Roma culture, history and language, and Adam Andrasz, the president of the Association of Roma in Tarnów. The Caravan is to commemorate Roma Holocaust. Members of the Roma community can thus learn about the history of extermination from local priests and authors of historical publications. Participants of the Caravan visit the following places of martyrdom: Żabno where possibly 49 of German and 12 of Hungarian Romas were shot by the Nazis in summer 1943), the grave in Borzęcin Dolny where anonymous 28 Romas, killed in the nearby forests, were buried, and Szczurowa where Germans murdered almost an entire Roma settlement of 93 people; the victims were buried in the local cemetery; it is probably the biggest grave of Roma people on the present territory of Poland. The Caravan Memorial is a project that integrates the Roma and the local community, also friendly villagers, journalists and sometimes passers-by join it. Tabor Pamięci Romów jako przykład promowania wiedzy o Romach przez Muzeum Etnograficzne w TarnowiePierwszy „Cygański Tabor Pamięci Romów”, który później nazwany został „Międzynarodowym Taborem Pamięci Romów”, wyruszył sprzed dziedzińca tarnowskiego Muzeum Etnograficznego w lipcu 1996 roku. Jedną z głównych idei, która przyświecała organizatorom „Taboru” było upamiętnienie zagłady Romów, którym podobnie jak Żydom naziści odmówili prawa do życia i skazali na całkowitą eksterminację. Tabor jest swego rodzaju „pielgrzymką” upamiętniającą kaźń Romów, jak i oddaniem pomordowanym hołdu w miejscu ich wiecznego spoczynku. „Tabor Pamięci Romów” stanowi istotny element dziedzictwa kulturowego Romów zamieszkujących ziemie polskie. Sięganie do tego dziedzictwa, nawiązywanie do niego i ukazywanie w jak najszerszym zakresie niewątpliwie przyczyniać się będzie do głębszego poznania kultury romskiej.