Kaplica Moskiewska – co zobaczył Erik Dahlbergh?

Author(s): Adam Bednarczyk / Language(s): Polish Publication Year: 0

Erik Dahlbergh (1625–1703) was a Swedish soldier and artist. His drawingswere used e.g., as the basis for illustrations in S. Pufendorf ’s De rebus a CaroloGustavo Sveciae Rege Gestis Commentariorum Libri Septem. Many of themrepresent Polish towns and are an indispensable iconographic source from themid 17th century. In the panorama of Warsaw published in this work we can seethe “Moscow Chapel” – the mausoleum of Vasili IV, tsar of Russia, constructedin 1620. The appearance of the building is the object of controversy.Dahlbergh’s drawings are not always completely accurate, and no Polishsketches of the building have remained. Therefore, the author offers to learnbetter the artist’s way of work by studying some better preserved works and tocomparing the drawings with contemporary photos. Dahlbergh sketched onthe spot, and a few years later created preliminary drawings. Then, an engravertransferred them to a brass plate. Each stage meant some deviations from theprevious view. Dahlbergh omitted some details and composed his pictures bygeometric transformation of the buildings’ images, and the engraver added hisown decorative details.Applying this method to the view of Warsaw, the author concludes thatthe real appearance of the Moscow Chapel differed from its present images.The building was designed to be a one-story rotunda topped with a dome, nota three-story tower on an octagonal plan. However, in order to confirm thisthesis, we also need to study thoroughly the later iconographic material andwritten sources.

UDZIAŁ LWOWSKICH ARTYSTÓW W MODERNIZACJI CERKWI BAZYLIANÓW W KRECHOWIE ZA PRZEŁOŻEŃSTWA SUPERIORA SYLWESTRA ŁASZCZEWSKIEGO

Author(s): Agata Dworzak / Language(s): Polish Publication Year: 0

The St. Nicholas Church of the Basilian monastery in Krekhiv, recentlydescribed in a historical monograph by Petro Szkrabjuk, has never been a subjectof interest of art historians. Dispersed but quite complete documents ofKrekhiv Basilian monks allow the analysis of the history of church modernization,not only providing important facts about the history of the complexbut also a lot of information about the artists that worked at it. Most of themcan be identified and attributed to other works, which helps supplement theirartistic output or popularize their activity.

DWÓR ORWISTOWO (ARISTAVĖLĖ) – WIĘZY DZIEDZICTWA MATERIALNEGO I NIEMATERIALNEGO

Author(s): Rasa Bertašiūtė / Language(s): Polish Publication Year: 0

TECHNIKA I TECHNOLOGIA XVIII-WIECZNEGO PORTRETU STAROPOLSKIEGO NA PRZYKŁADZIE IMAGINACYJNEGO PORTRETU LEONA TYSZKIEWICZA, KASZTELANA LUBELSKIEGO, Z KOLEKCJI RODOWEJ Z ŁOHOJSKA ZE ZBIORÓW MUZEUM NARODOWEGO W WARSZAWIE

Author(s): Aleksandra Krupska,Joanna Szpor,Anna Paulina Orłowska / Language(s): Polish Publication Year: 0

When developing and carrying out the necessary conservation of works ofart, it is very important to properly recognize the technique and technology ofits production. This is vital in order to make the accurate diagnosis of the stateof preservation, determine the causes of damage, and rationally select materialsnecessary for conservation and restoration works.It is very rarely possible to carry out the analysis and conservation ofpictures from a single collection, perhaps mostly painted by the same artist,which have not been subject to aggressive renovation before and do not bearexcessive secondary influences. But 18th-century imaginary portraits of theTyszkiewicz family from the Lohoysk collection, directly connected with theSarmatian culture, meet these conditions. They are characterized by a similarway of painting and a similar pattern of figure presentation, including decorativerepresentation of rich noble outfits and necessary army attributes (kanjars,sabers, hetman’s batons etc.). The portraits were meant to prove the high socialstanding and services of the ancestors of Tyszkiewicz family. The authorsof the portraits were probably anonymous provincial guild painters of the 18thcentury, who applied old principles of painting.It was very important to recognize how the portrait of Leo Tyszkiewicz waspainted, what was the order of applying composition elements, to recognizethe kinds of paint, their cover intensity connected with different pigments andbinders, to determine color layers, etc.Analytical, physical and chemical tests, as well as insightful visual analysis,made it possible to learn in detail the technical and technological structure ofthe portrait of Leo Tyszkiewicz, beginning with the technical and technologicalfeatures of the canvas support, through color layers, up to the top varnishlayer. Physical examinations such as X-ray, UV, IR, and highly specialist chemicaltests of binders and pigments (GC-MS, FTIR, SEM-EDS), as well as theanalysis of lateral sections of the collected samples of layers of paint, made itpossible to characterize the technological materials used in the picture. Thisallowed to try and describe the way of painting this representation against thebackground of 18th-century European painting technologies and to draw conclusionsconcerning the causes of specific deformations present in the pictures.

WSTĘPNE ROZPOZNANIE PROBLEMATYKI KONSERWATORSKIEJ I HISTORYCZNEJ KAMIENNEGO TRYPTYKU Z 1470 R. PIERWOTNIE WMUROWANEGO W ŚCIANĘ KATEDRY ZAŚNIĘCIA BOGURODZICY – SOBORU USPIEŃSKIEGO (OBECNIE W WIELKĄ DZWONNICĘ) ŁAWRY PECZERSKIEJ W KIJOWIE, UKRAINA

Author(s): Lucyna Omieczyńska / Language(s): Polish Publication Year: 0

Prace konserwatorskie przy wyposażeniu kościoła rzymskokatolickiego pw. św. św. Piotra i Pawła w Tbilisi, Gruzja

Author(s): Jerzy Szałygin / Language(s): Polish Publication Year: 0

The church of Saints Peter and Paul in Tbilisi constructed in the years1870–1877 according to the design by a German architect Albert Zalcman is themost important witness to the many centuries of presence of Poles in Georgia.The church gathering and consolidating Polish community for decades andgiving energy for the preservation of Polishness survived and functioned incessantlyduring the most bloody communist terror (1937–1980), and duringthe collapse of communism it became the germ of revival of Catholicism inGeorgia. It still serves its outstanding role, after the departure of many Polesto the homeland in the years 1919–1921 not only gathering the descendants ofPoles but also other Roman Catholics in Georgia.The church is richly equipped, with items founded in the 19th c. and inthe early 20th c. among others by Poles living in Caucasus and Transcaucasia,which were cataloged in 2008 by members of the Terpa Foundation. The scopeof the study was to describe the whole equipment and determine the state ofpreservation of its elements. The alarming condition of some of them calledfor conservation works based on annual design conservation documentation.Works concerning the most valuable and worst preserved elements of equipmenthave been carried out since 2009 until now. They have a fundamentalimportance for the Polish community living in Georgia. The church with itsrich equipment is the focal place for the Roman Catholic minority in the country. It also has a symbolic significance, as the place where John Paul II prayedduring his visit to Georgia in 1999.Polish conservators have been participating in the works at the churchequipment during the six years, giving excellent proof of their skills and knowledgewhich enabled them to save the historic objects for the future generations.Works at the other objects will be continued and hopefully end with therestoration of the magnificence of the church that is most important for Polesand their offspring.

RELIKTY GALERII RODOWYCH POLSKICH W ZBIORACH MUZEUM NARODOWEGO W WARSZAWIE

Author(s): Monika Ochnio / Language(s): Polish Publication Year: 0

Many portrait family collections entered to the National Museum in Warsawafter the II w.w. confiscated from manors and palaces of noble class. Thisprocess was an effect of political changes after 1945, when Poland becamea socialist republic. The oldest were the portraits of Tęczyński family fromTęczyn and Lubomirski family from Wiśnicz (both dated to the beginning of17th c.). Later portraits in the museum collection c. belonged to the families:Radziwiłł from Nieśwież (now Belarus), Czapski family (from their Warsawpalace?) – dated to 1st half of 18th; Tarło, Zbirohowska-Kościa, original placeof preservation unknown-all dated to late 18th c.; Tarnowski (from Dzików?),Frąckiewicz-Radzimiński (original place of preservation is unknown), Tyszkiewiczfrom Łohojsk (now Belarus) – dated to from turn of 18/19th c.; Broel-Platerfrom Szweksznie (now Lithuania) – dated to the half of 18th c.; Krasiński fromRadziejowice (painted in 1852) and Giniatowicz-Piłsudski (from Lithuania?) –dated to the 1st half of 20th c. Except the Tęczyński, part of the Lubomirski andthe Czapski family portrait collections which grew up over couple of centuries,the rest of the above mentioned were created as complete sets, representing thefamily from legendary ancestors to the actual members. The common characteristicof this kind of portrait galleries were same dimensions, compositionsof the paintings, as well inclusion of imaginary representations of people fromlegendary past. One can only speculate about the reasons for creation of suchimaginary portrait galleries perhaps they were prompted by the intention tounderline antiquity and nobility of a family. This purpose became more importantwhen Poland lost its independence in the end of 18th c. and Polish gentrywas obligated to prove its nobility in herald offices of Austrian, Russian andPrussian administration.

Stan badań nad oceną wiarygodności grafik autorstwa Erika Dahlbergha

Author(s): Karol Łopatecki / Language(s): Polish Publication Year: 0

In this article we analyze the iconographic and cartographic works byErik Dahlbergh concerning the territory of the Commonwealth, created in the1655–1660 period. They were transferred to copperplates and published in thework by Samuel Pufendorf De rebus a Carolo Gustavo Sueciae gestis. The articlepresents the current state of research on the reliability of the prints. Based onthe collected material, I refer to methodological assumptions that researchersanalyzing the output of Dahlbergh should take into consideration. I discuss theissues of fortifications and significant military elements, the landscapes, andelements of figural staffage. I point to the need to extend the source databaseof Dahlbergh’s works with the existing drawings and handwritten materials.

CHRZEŚCIJAŃSKIE IDEOGRAMY W CERKWIACH ZACHODNIEJ UKRAINY: RÓŻNORODNOŚĆ ORAZ PLASTYKA DZIEŁ SNYCERSTWA

Author(s): Ołeh Bolyuk / Language(s): Polish Publication Year: 0

The author defines the typical image of ideograms and their features onthe basis of scientific research expeditions to churches in Western Ukraine. Theitems found there express zoomorphic, teratomorphic, phytomorphic, skeuomorphicand astral motifs. The extensive iconographic repertoire of Christianimages increases their plasticity. Each product has specific features dependingon the technique of carving, intarsia, or polychrome.

POLSKA GRUPA KAPITOL W RZYMIE MUSSOLINIEGO

Author(s): Anna Rudzka / Language(s): Polish Publication Year: 0

Our Lady of Victory of Jelgava

Author(s): Kristīne Ogle / Language(s): Polish Publication Year: 0

This painting is invaluable in the general picture of sacral art in Latvia. In1936 the picture is described by a priest and art historian Kazimirs Jasens. Heindicates that the painting is located in the chapel at Jelgava Roman Catholicgraveyard. The artefact was considered to be destroyed during WW II, but luckilyit was found in 2013 far away from its original place, in Kaunata, SE Latvia.The painting is remarkable from more than one reason. First, the documentedhistory of its origins. The Jesuit chronicles at Jelgava have records ofan incident in 1737: a citizen Peter Plagmann had insulted the Mother of Godin public, which had caused repercussions among his fellow citizens. Not onlythe Roman Catholics and Lutherans in Jelgava were involved in the incident,the City Council soon joined the argument. As a result, the offender receivedan unusual punishment, and namely, to finance two paintings – ‘Virgin Mary’and a smaller one of ‘Sts Joachim and Anna’. Later both pictures were placed inrespective side altars of St. George church. They stay there till the second half ofC19, when the altars are rebuilt in Neogothic form, and altar paintings by JuliusDöring: a copy of the Sistine Madonna (1863) and ‘The Holy Family’ (1868).In the records of episcopal visitations we find descriptions of the painting,which augment the information in the book by Kazimirs Jasena: the head ofthe Holy Virgin is decorated by 12 silver stars, her foot rests on a silver crescentmoon; above the Virgin’s breast a large silver heart is visible together witha golden crucifix; both the Most Holy Virgin and Child Jesus have silver crowns.The older texts refer to the painting as ‘Virgin of Immaculate Conception’.This is not quite correct as in the Jelgava painting Our Lady is picturedtogether with the Child, which is not usual in the iconography of the ImmaculateConception.Against the background of golden clouds, the Most Holy Virgin standsin full height upon a crescent moon, holding Jesus on her right. Her long redgown stretches to the ground, leaving only the toes of her bare feet uncovered.Starting at her right shoulder, a mantle of deep blue twists around the Virgin’sbody, while a pale gold robe with large undulating folds covers the Child. TheVirgin’s veil is also white, it falls over her shoulders and back, underscoring thedeep golden shine of her long, curly hair.The crescent moon is placed on a symbolic representation of the earth.A sarcastically grinning snake is curled around it, holding in its long fangs anapple – a reminder of the fall from grace. Yet its advantage is but brief: firmlyheld by his mother, the little Child Jesus uses a long cross spear to press thehead of the evil one to the ground, demonstrating his victory.

The plaques with portraits of famous people by Kazimierz Chodziński (1861–1921) on the background of the collection from the Coins Cabinet of the National Museum in Warsaw

Author(s): Anna Feliks / Language(s): English Publication Year: 0

Kazimierz Chodziński (1861–1921), the polish sculptor and medallist, theauthor of an over 100 plaques with portraits of Polish citizens living in thebordering regions of his homeland in Lvov, who were fighting for the independenceof Poland or co-created the first governments and later formed thecultural basis of the country. Portraits changed a little in the following years ofhis short medalist carrier, between 1913 and 1920. As I have observed, he startedwith a private image, which was defined emotionally and, in comparisonto the others, it was tender and soft. Subsequently, there were the portraits ofmilitaries and priesthoods, which became an official form. The images in variousshapes are mostly presented as the portraits of Lvovians aristocracy andintellectuals. It is probable that Chodziński knew them personally, becausethey worked and lived in surrounding areas. His images resemble the oldestclassic school. Additionally, they are realistic in their expression and, in a certainway, they exaggerate or simplify the face presented. However, some faceswere more expressive, while others not. It is possible that the artist, as with theshapes of the plaques, had experimented with the final effects and the artificialcharacter of the surface.

ZWIĄZEK ARTYSTÓW ZACHODNIEJ BIAŁORUSI W BIAŁYMSTOKU

Author(s): Joanna Tomalska / Language(s): Polish Publication Year: 0

Before WWII, Białystok was an industrial provincial town. Cultural lifewas not very advanced here; there were no art galleries or museums. Local exhibitionswere held in cafés, school halls or the garden pavilion, and the mostimportant and biggest ones, in the representative hall of the Branicki Palace.After Soviet invaders occupied the town in September 1939, the authorities usedlocal artists and those who came here from different parts of Poland in searchof shelter from war to make a great number of propaganda portraits of politicalleaders, banners and decorations for numerous state celebrations. For thepurpose of propaganda and in order to raise “a new, socialist member of thecommunity”, institutions were established in the town such as the Museum ofFine Arts, the House of Painters, and the House of Folk Arts. The Circuit Houseof Socialist Culture and the Białystok branch of the Association of West BelarusianArtists were also formed very soon. Being member of the organizationmade it possible to obtain e.g., profitable orders from the state, allotments ofgoods in short supply, and authorities’ favor. Today, the activity of the groupof Białystok artists in the years 1939–1941 is only known from press notes andtwo preserved catalogs from exhibitions in Brest and Moscow. Nothing has remainedfrom the works of art created in Białystok in that time; they have beendestroyed or translocated and we know nothing of their later history.

Lwowska kolekcja szkiców teatralnych Andrzeja Pronaszki - problem atrybucji

Author(s): Alla Dmytrenko / Language(s): Polish Publication Year: 0

ZAPOMNIANE MALARSKIE POLONIKA W ZBIORACH MUZEÓW UKRAINY

Author(s): Marcin Goch / Language(s): Polish Publication Year: 0

GRODZIEŃSKA RZEŹBA JEZUSA NAZAREŃSKIEGO

Author(s): Maria Kałamajska-Saeed / Language(s): Polish Publication Year: 0

In the Grodno State Museum of History and Archaeology there is a verygood Rococo sculpture of Jesus the Nazarene of approx. 1740, recorded in themuseum’s inventory of 1923 with an obscure note that it came from one of nolonger existing local churches. It was found out, however, that the sculpture wasobtained from a local Franciscan monastery, where it had been labeled Jesusof Brailov. It represents a specific, well-known iconographic type promoted bythe Trinitarian Order, usually bearing the name of the place where there wasa sanctuary being the center of worship of the wonderful figure. In Grodno wewould expect the name Jesus of Antakalnis, because the point of reference forthe region was the Trinitarian church in the Vilnius district of Antakalnis. Itwas intriguing, then, why the sculpture was given the name of another wonderfulfigure, equally famous but located in Brailiv in Podolia, nearly 800 kmaway. The great similarity of the Grodno sculpture to the graphic representationof the figure of Brailiv, presented in a reliable-looking drawing of 1770,initially suggested that it was the lost original, but the hope was dashed aftercomparing it to the photo. Thus, the “Brailiv track” proved erroneous, and becausedue to the different hand position the sculpture cannot be regarded asa duplicate of the wonderful figure from Vilnius, the identity of the original isstill to be determined.The interest in the figure was also a pretext for presenting the constructionand later history of the church and monastery of the Trinitarians in Brailiv upto the contemporary times, among others an unknown measurement of 1834that shows the state from before the conversion into an Orthodox church.Zrealizowano ze

STOLARZE ŁACHEWSCY I CZUCZEWICCY

Author(s): Stanisław Stefan Mieleszkiewicz / Language(s): Polish Publication Year: 0

Łachwa, a small town belonging to Nesvizh Radziwiłł family, and then toSayn-Wittgenstein family (from 1828), located upon the Śmierć (Łachwa) River,near Dawidgródek and Kożangródek in Polesie, was the residence of manydifferent craftsmen, including carpenters. The preserved archival materials,though incomplete, make it possible to reproduce the personal composition ofthe workshop in the years 1742–1860, which makes this manufacture unique inPoland. In that period, approximately 86 people were referred to as carpenters.They were master craftsmen, journeymen and learners.

"Mała wojna". Działania wojsk rosyjskich w Inflantach, Estonii oraz Ingermanlandii w latach 1700–1704

Author(s): Paweł Krokosz / Language(s): Polish Publication Year: 0

Irlandczyk na służbie carskiej. Piotr Lacy – feldmarszałek i generał-gubernator Inflant

Author(s): Tomasz Ciesielski / Language(s): Polish Publication Year: 0

Marzec 1795 w dziejach Księstwa Kurlandii i Semigalii. Przyczynek do chronologii ostatniego landtagu kurlandzkiego

Author(s): Arkadiusz Janicki / Language(s): Polish Publication Year: 0