End Notes
Bernardo Bellotto and the reconstruction of Warsaw
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1 Poland itself had been “liberated” from the Germans in January 1945 when Soviet forces entered Warsaw. In the Pacific, the War with Japan continued until August 1945.
2 England and France declared war on Germany two days later, pursuant to their guarantee of Poland’s border.
3 Also known as the Ribbentrop-Molotov Pact after the respective foreign ministers. See generally Roger Moorhouse, The Devils’ Alliance: Hitler‘s Pact with Stalin, 1939-41, Bodley Head, London, 2014; Roger Moorhouse, “When Poland was torn to pieces”, BBC History Magazine, October 2014, 40-44.
4 This became known as the massacre at Katyn.
5 Moorehouse, op cit, BBC History at 44.
6 Lynn H Nicholas, The Rape of Europa, Papermac, London 1994 at 61.
7 Adam Zamoyski, Poland: a History, Harper Press, London, 2009 at 338.
8 Zamoyski, op cit at 338.
9 Nicola Lanbourne, War Damage in Western Europe: the destruction of historic monuments during World War II, Edinburgh University Press, 2001 at 42-3.
10 UNESCO Art Museums in Need, 1949, at 6.
11 See also Zamoyski, op cit at 338.
12. Nicholas, op cit at 68-71.
13. Nicholas, op cit at 58.
14. Zamoyski, op cit at 338.
15 Michal Murawski, “(A)political buildings: ideology, memory and Warsaw's 'Old' Town”. Mirror of Modernity: The Postwar Revolution in Urban Conservation, Proceedings of Joint Conference, May 2009. http://www.fredmussat.fr/e-proceedings2_dec09/mirror_of_modernity_murawski.htm
16 Piotr Majewski, “The Use of Bernardo Bellotto’s Paintings in the Reconstruction of Warsaw after World War II” in Stéphane Loire et al (eds), Bernardo Bellotto: a Venetian Painter in Warsaw, 5 Continents, Milan, 2004 at 27.
17 Majewski, op cit at 28.
18 Martyn, P. 2001 “The Brave New-Old Capital City: Questions relating to the rebuilding and remodelling of Warsaw’s architectural profile from the late-1940s until 1956”, in Jerzy Miziołek (Ed.), Falsifications in Polish Collections and Abroad, Warsaw: Institute of Archaeology, Warsaw University.
19 A camera obscura (“dark box”) consists of a box with a hole in one end. Light from an outside source passes through the hole and hits the opposite end of the box, presenting an upside-down image of the scene outside. This image can be projected onto a piece of paper, and traced to produce an extremely accurate representation.
20 Majewski, op cit at 30.
21 In Poland, he is often referred to as Canaletto.
22 Majewski, at 34-5.
23 Martyn, op cit at 211-2; Murawski, op cit.
24. Jan Bialostocki, “Bernardo Bellotto in Dresden and Warsaw”, The Burlington Magazine, Vol 106, No 735, June 1964, 289-90.
25 Martyn, op cit at 211-2.
26 Murawski, op cit.
© Philip McCouat 2015
This article may be cited as Philip McCouat, “Bernardo Bellotto and the Reconstruction of Warsaw”, Journal of Art in Society www.artinsocety.com
We welcome your comments on this article
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1 Poland itself had been “liberated” from the Germans in January 1945 when Soviet forces entered Warsaw. In the Pacific, the War with Japan continued until August 1945.
2 England and France declared war on Germany two days later, pursuant to their guarantee of Poland’s border.
3 Also known as the Ribbentrop-Molotov Pact after the respective foreign ministers. See generally Roger Moorhouse, The Devils’ Alliance: Hitler‘s Pact with Stalin, 1939-41, Bodley Head, London, 2014; Roger Moorhouse, “When Poland was torn to pieces”, BBC History Magazine, October 2014, 40-44.
4 This became known as the massacre at Katyn.
5 Moorehouse, op cit, BBC History at 44.
6 Lynn H Nicholas, The Rape of Europa, Papermac, London 1994 at 61.
7 Adam Zamoyski, Poland: a History, Harper Press, London, 2009 at 338.
8 Zamoyski, op cit at 338.
9 Nicola Lanbourne, War Damage in Western Europe: the destruction of historic monuments during World War II, Edinburgh University Press, 2001 at 42-3.
10 UNESCO Art Museums in Need, 1949, at 6.
11 See also Zamoyski, op cit at 338.
12. Nicholas, op cit at 68-71.
13. Nicholas, op cit at 58.
14. Zamoyski, op cit at 338.
15 Michal Murawski, “(A)political buildings: ideology, memory and Warsaw's 'Old' Town”. Mirror of Modernity: The Postwar Revolution in Urban Conservation, Proceedings of Joint Conference, May 2009. http://www.fredmussat.fr/e-proceedings2_dec09/mirror_of_modernity_murawski.htm
16 Piotr Majewski, “The Use of Bernardo Bellotto’s Paintings in the Reconstruction of Warsaw after World War II” in Stéphane Loire et al (eds), Bernardo Bellotto: a Venetian Painter in Warsaw, 5 Continents, Milan, 2004 at 27.
17 Majewski, op cit at 28.
18 Martyn, P. 2001 “The Brave New-Old Capital City: Questions relating to the rebuilding and remodelling of Warsaw’s architectural profile from the late-1940s until 1956”, in Jerzy Miziołek (Ed.), Falsifications in Polish Collections and Abroad, Warsaw: Institute of Archaeology, Warsaw University.
19 A camera obscura (“dark box”) consists of a box with a hole in one end. Light from an outside source passes through the hole and hits the opposite end of the box, presenting an upside-down image of the scene outside. This image can be projected onto a piece of paper, and traced to produce an extremely accurate representation.
20 Majewski, op cit at 30.
21 In Poland, he is often referred to as Canaletto.
22 Majewski, at 34-5.
23 Martyn, op cit at 211-2; Murawski, op cit.
24. Jan Bialostocki, “Bernardo Bellotto in Dresden and Warsaw”, The Burlington Magazine, Vol 106, No 735, June 1964, 289-90.
25 Martyn, op cit at 211-2.
26 Murawski, op cit.
© Philip McCouat 2015
This article may be cited as Philip McCouat, “Bernardo Bellotto and the Reconstruction of Warsaw”, Journal of Art in Society www.artinsocety.com
We welcome your comments on this article
Back to HOME