Recepcja grafik z cyklu maryjnego Gottfrieda Bernharda Göza w malarstwie monumentalnym kręgu lwowskiego w XVIII wieku
The reception of the engravings belonging to Gottfried Bernhard Göz’s Marian series in the monumental painting of the Lvov circle in the 18th century

Summary/Abstract: The graphic series dedicated to the Mother of God, defined as Sub tuum praesidium confugimus, by Gottfried Bernhard Göz (1708-1774) was an inspiration for the monumental painting of the Rococo period in Poland in the times of the Saxon kings. The series of engravings with a devotional character made by the stipple engraving technique presents twelve signed Marian scenes: the Immaculate Conception of the Blessed Virgin Mary, the Birth of the Blessed Virgin Mary, the Presentation of Mary, the Marriage of Mary and Joseph, the Annunciation, the Visitation, the Purification, and then images of Our Lady of Sorrows, Assumption of Mary. The next scenes are connected with Mary’s patronage - as the Queen of the Rosary and with her intercession. The prints, as researchers of Göz’s work assume, prove his mature style that was shaped in the years 1737-1740, when he formed a publishing “company” together with the Klauber brothers, Joseph Sebastian and Johann Baptist. He used the motifs occurring in the series many times e.g. on the vault of the nave in the Dominican sisters St Stefan Church in Habsthal (1748; Upper Swabia), in the sketch and painting for the Cistercians Monastery in Birnau (1748-1750). These motifs were also found in Bavarian Marian sanctuaries, e.g. Frauenchiemsee, Maria Mitleid Kapelle and Mater Dolorosa Kapelle with paintings by Balthasar Furtner (1761) and in the church in Niederaschau and in Klein Mariazell (1763-1765). References to the series may also be found in the area of Slovenia - on the vault of Grajska kapela in Novo Celje (1758-1763).The prints were known to the circle of Lvov artists active in the 18th century and they were used as models for numerous figural compositions. First of all the Lvov painter Stanisław Stroiński (1719-1802) used them for the decorations, among others, of the interior of the Franciscan Marian sanctuary in Leżajsk, in the Franciscan Holy Spirit Church in Krystynopol (1756-1759 (now it is Chervonohrad in the Ukraine), and in the decoration of the St Anna Chapel in the Holy Trinity Benedictine Church in Przemyśl. The series of prints was also used by the painter Gabriel Sławiński in the decoration of the chancel in the St Lawrence Parish Church in Żółkiewka and on the vault of the Pauline St Louis Church in Włodawa.The engravings are a significant model for Polish painting because of their style, technique and an original approach to a conventional religious subject.

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