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Papers by Aleksandra Lipinska
Alabaster Sculpture in Europe 1300-1650, 2022
Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek
Wielokulturowosc- …, 2005
On basis of recently transcribed sources the paper analyses the structure of the group of artists... more On basis of recently transcribed sources the paper analyses the structure of the group of artists and artisans employed by Duke Julius of Brunswick-Lüneburg (1528-1589) during his reign (1568-1589) in Wolfenbüttel. The analysis reveals a strong representation of newcomers from the Low Countries, among which majority were stonecutters and sculptors (e.g. Adam Lecuir, Augustin Adrians, Jan Eskens). This can be to a certain extent be interpreted as a signal of an aesthetic orientation of the Wolfenbüttel ruler, shaped in his youth. Yet, stronger factor was probably economic motivation. Since in order to realize his plans for the exploitation and marketing of the decorative stones discovered in his country, Duke Julius needed specific experts, who were available from the Low Countries at that time. The relationship of Julius of Brunswick-Lüneburg with his court artists and artisans can be described as one of direct collaboration, driven on both sides by economic, scientific or artistic interests. The Wolfenbüttel case also permits conclusions concerning the situation of migrant or itinerant artists. Firstly, their mobility was strongly dependent on contacts between courts, though they were not only pawns or instruments in inter-court communications, but also active players in this process. Secondly, an influential factor stimulating artistic migration were networks of fellow countrymen, which provided social structures for the newcomers, and in doing so contributed to the creation of artistic colonies.
Acta Poloniae Historica, 2004
in: Ingenium et labor. Studia ofiarowane Profesorowi Antoniemu Ziembie z okazji 60. urodzin, ed. P. Borusowski et al., Warszawa, 2020
Between contestation and the new beginning. The Netherlandish altarpiece c. 1530-1600
, in: Kirsten Baumann, Constanze Köster, Uta Kuhl (Hg.), Wissenstransfer und Kulturimport in der Frühen Neuzeit. De Niederlande und Schleswig-Hollstein, Petersberg 2020, pp. 155–180., 2000
Geld, Prestige, Verantwortung. Bankiers und Banken als Akteure im wirtschaftlichen, politischen und kulturellen Netzwerk im (Nordost-)Europa des 16. – 20. Jahrhunderts, 2020
in: Z. Marat (ed.) English Alabaster Carvings and their Cultural Context, Woodbridge 2019, pp. 51-70., 2019
Early Modern Merchants as Collectors
The Artist between Court and City (1300-1600) - L’artiste entre la Cour et la Ville – Der Künstler zwischen Hof und Stadt (1300-1600), eds. Dagmar Eichberger, Philippe Lorentz, Andreas Tacke, Petersberg 2017, S. 268-179.
On basis of recently transcribed sources the paper analyses the structure of the group of artists... more On basis of recently transcribed sources the paper analyses the structure of the group of artists and artisans employed by Duke Julius of Brunswick-Lüneburg (1528-1589) during his reign (1568-1589) in Wolfenbüttel. The analysis reveals a strong representation of newcomers from the Low Countries, among which majority were stonecutters and sculptors (e.g. Adam Lecuir, Augustin Adrians, Jan Eskens). This can be to a certain extent be interpreted as a signal of an aesthetic orientation of the Wolfenbüttel ruler, shaped in his youth. Yet, stronger factor was probably economic motivation. Since in order to realize his plans for the exploitation and marketing of the decorative stones discovered in his country, Duke Julius needed specific experts, who were available from the Low Countries at that time. The relationship of Julius of Brunswick-Lüneburg with his court artists and artisans can be described as one of direct collaboration, driven on both sides by economic, scientific or artistic interests.
The Wolfenbüttel case also permits conclusions concerning the situation of migrant or itinerant artists. Firstly, their mobility was strongly dependent on contacts between courts, though they were not only pawns or instruments in inter-court communications, but also active players in this process. Secondly, an influential factor stimulating artistic migration were networks of fellow countrymen, which provided social structures for the newcomers, and in doing so contributed to the creation of artistic colonies.
Artyści znad jezior lombardykich w nowożytnej Europie. Studia dedykowane pamięci Profesora Mariusza Karkpowicza / Artisti dei laghi lombardi nell’Europa moderna. Studi dedicati alla memoria del Prof. Mariusz Karpowicz, Warszawa 2016, 2016
Die südniederländische Alabasterskulptur des 16. Jahrhunderts in Berlin. Herkunft – Stifterkreis ... more Die südniederländische Alabasterskulptur des 16. Jahrhunderts in Berlin. Herkunft – Stifterkreis – Kontext, in: C. Badstübner-Kizik, E. Kizik (Hg.) Entdecken – Erforschen – Bewahren. Beiträge zur Kunstgeschichte und zur Denkmalpflege. Festgabe für Sybille Badstübner-Gröger zum 12. Oktober 2015, Berlin 2016, S. 62-77
Südniederländische Alabasterplastik um 1525–1650: serielle Produktion, Verbreitung, Status, in: C... more Südniederländische Alabasterplastik um 1525–1650: serielle Produktion, Verbreitung, Status, in: Ch. Jeggle, A. Tacke, M. Herzog, M. Häberlein, M. Przybilski (Hg.), Luxusgegenstände und Kunstwerke vom Mittelalter bis zur Gegenwart. Produktion - Handel - Formen der Aneignung, Konstanz und München 2015, S. 361-374
Alabaster Sculpture in Europe 1300-1650, 2022
Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek
Wielokulturowosc- …, 2005
On basis of recently transcribed sources the paper analyses the structure of the group of artists... more On basis of recently transcribed sources the paper analyses the structure of the group of artists and artisans employed by Duke Julius of Brunswick-Lüneburg (1528-1589) during his reign (1568-1589) in Wolfenbüttel. The analysis reveals a strong representation of newcomers from the Low Countries, among which majority were stonecutters and sculptors (e.g. Adam Lecuir, Augustin Adrians, Jan Eskens). This can be to a certain extent be interpreted as a signal of an aesthetic orientation of the Wolfenbüttel ruler, shaped in his youth. Yet, stronger factor was probably economic motivation. Since in order to realize his plans for the exploitation and marketing of the decorative stones discovered in his country, Duke Julius needed specific experts, who were available from the Low Countries at that time. The relationship of Julius of Brunswick-Lüneburg with his court artists and artisans can be described as one of direct collaboration, driven on both sides by economic, scientific or artistic interests. The Wolfenbüttel case also permits conclusions concerning the situation of migrant or itinerant artists. Firstly, their mobility was strongly dependent on contacts between courts, though they were not only pawns or instruments in inter-court communications, but also active players in this process. Secondly, an influential factor stimulating artistic migration were networks of fellow countrymen, which provided social structures for the newcomers, and in doing so contributed to the creation of artistic colonies.
Acta Poloniae Historica, 2004
in: Ingenium et labor. Studia ofiarowane Profesorowi Antoniemu Ziembie z okazji 60. urodzin, ed. P. Borusowski et al., Warszawa, 2020
Between contestation and the new beginning. The Netherlandish altarpiece c. 1530-1600
, in: Kirsten Baumann, Constanze Köster, Uta Kuhl (Hg.), Wissenstransfer und Kulturimport in der Frühen Neuzeit. De Niederlande und Schleswig-Hollstein, Petersberg 2020, pp. 155–180., 2000
Geld, Prestige, Verantwortung. Bankiers und Banken als Akteure im wirtschaftlichen, politischen und kulturellen Netzwerk im (Nordost-)Europa des 16. – 20. Jahrhunderts, 2020
in: Z. Marat (ed.) English Alabaster Carvings and their Cultural Context, Woodbridge 2019, pp. 51-70., 2019
Early Modern Merchants as Collectors
The Artist between Court and City (1300-1600) - L’artiste entre la Cour et la Ville – Der Künstler zwischen Hof und Stadt (1300-1600), eds. Dagmar Eichberger, Philippe Lorentz, Andreas Tacke, Petersberg 2017, S. 268-179.
On basis of recently transcribed sources the paper analyses the structure of the group of artists... more On basis of recently transcribed sources the paper analyses the structure of the group of artists and artisans employed by Duke Julius of Brunswick-Lüneburg (1528-1589) during his reign (1568-1589) in Wolfenbüttel. The analysis reveals a strong representation of newcomers from the Low Countries, among which majority were stonecutters and sculptors (e.g. Adam Lecuir, Augustin Adrians, Jan Eskens). This can be to a certain extent be interpreted as a signal of an aesthetic orientation of the Wolfenbüttel ruler, shaped in his youth. Yet, stronger factor was probably economic motivation. Since in order to realize his plans for the exploitation and marketing of the decorative stones discovered in his country, Duke Julius needed specific experts, who were available from the Low Countries at that time. The relationship of Julius of Brunswick-Lüneburg with his court artists and artisans can be described as one of direct collaboration, driven on both sides by economic, scientific or artistic interests.
The Wolfenbüttel case also permits conclusions concerning the situation of migrant or itinerant artists. Firstly, their mobility was strongly dependent on contacts between courts, though they were not only pawns or instruments in inter-court communications, but also active players in this process. Secondly, an influential factor stimulating artistic migration were networks of fellow countrymen, which provided social structures for the newcomers, and in doing so contributed to the creation of artistic colonies.
Artyści znad jezior lombardykich w nowożytnej Europie. Studia dedykowane pamięci Profesora Mariusza Karkpowicza / Artisti dei laghi lombardi nell’Europa moderna. Studi dedicati alla memoria del Prof. Mariusz Karpowicz, Warszawa 2016, 2016
Die südniederländische Alabasterskulptur des 16. Jahrhunderts in Berlin. Herkunft – Stifterkreis ... more Die südniederländische Alabasterskulptur des 16. Jahrhunderts in Berlin. Herkunft – Stifterkreis – Kontext, in: C. Badstübner-Kizik, E. Kizik (Hg.) Entdecken – Erforschen – Bewahren. Beiträge zur Kunstgeschichte und zur Denkmalpflege. Festgabe für Sybille Badstübner-Gröger zum 12. Oktober 2015, Berlin 2016, S. 62-77
Südniederländische Alabasterplastik um 1525–1650: serielle Produktion, Verbreitung, Status, in: C... more Südniederländische Alabasterplastik um 1525–1650: serielle Produktion, Verbreitung, Status, in: Ch. Jeggle, A. Tacke, M. Herzog, M. Häberlein, M. Przybilski (Hg.), Luxusgegenstände und Kunstwerke vom Mittelalter bis zur Gegenwart. Produktion - Handel - Formen der Aneignung, Konstanz und München 2015, S. 361-374
The international conference, organised by the University of Munich and the University of Cologne... more The international conference, organised by the University of Munich and the University of Cologne, brings together scholars from diverse fields within humanities and science to discuss similarities and differences, continuities and discontinuities in the notions surrounding wood in various cultural contexts within Eurasia. The papers address the relationship between the naturally determined affordances of timber and their cultural coding, relation of wood to other materials, specificities of wood craftsmanship, as well as the economic, theological and political aspects of the wood application. Scan the QR Code for the Zoom Link and the Programme Photo credits: MET Museum; https://omeka.ulb.uni-bonn.de/; A. Lipińska