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1
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Seminarium „Podstawy współczesnej restauracji witraży” Nysa, 17 listopada 2011 r.

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Laskowski A.
Ochrona Zabytków
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2010
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issue 1-4
301-304
EN
The Research and Education Centre for the Conservation of Monuments in Nysa organised a seminar on the restoration of stained-glass on 17 November 2011. The Centre functions within the structures of the local State Vocational College under the supervision of Paweł Karaszkiewicz, PhD – a wellknown conservator from Kraków and a lecturer at the Academy of Fine Arts there. After an introduction regarding the legal basis (Krzysztof Spychała) and the collection of stained-glass windows in Poland (Danuta Czapczyńska-Kleszczyńska), an extensive lecture was delivered on the modern methods of stained-glass restoration, based on the speaker’s (Paweł Karaszkiewicz) many years’ experience and his international connections, among others, as a participant in the works of the Corpus Vitrearum Medii Aevi (CVMA) Polish National Committee. This detailed lecture was complemented by speeches delivered by several participants, mainly conservators of works of art, who presented their activities in the field of the conservation of artistic glass from various epochs, in particular stained-glass, or regarding the arrangement of new glazing in historic interiors.
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„Nie tylko art déco” Sztuka witrażowa w okresie międzywojennym Konferencja międzynarodowa, Rzeszów, 6-8 października 2011 r.

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Laskowski A.
Ochrona Zabytków
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2010
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issue 1-4
295-300
EN
On 6-8 October 2011, the 7th international conference on the art of stained glass was held in Rzeszów, organised once again by the “Ars Vitrea Polona” Association of Stained Glass Enthusiasts, this time in cooperation with the Centre for Contemporary Sacred Art Documentation at the Faculty of Art of the University of Rzeszów. The main theme was the art of stained glass of the interwar period. A very interesting, varied picture of Polish stained glass craft of the time emerged from nearly 30 papers presented on the topic. It confirmed the rightness of the thesis put forward in the conference’s title that back then, the Art Déco style was just one of the numerous variants of the Polish stained glass art, situated somewhere halfway between the most conservative and the most avant-garde tendencies and widely accepted by the audience of the time. The meeting in Rzeszów gathered a representative group of Polish stained glass scholars and experts (mainly from Kraków, Katowice and Wrocław), speakers from Lviv and Chicago and a few participants who have only just started their research in the field. During the conference, several theoretical and synthesis papers were presented, as well as – in most cases – papers contributing to further research, discussing selected examples of stained glass art, designers and workshops. The prevailing subjects centred around the Upper and Lower Silesia regions and south-eastern Poland, and works from the areas of Greater Poland and Pomerania were mentioned on occasion. The proceedings, held in the building of the University of Rzeszów Library, were accompanied by an exhibition in the local Art Exhibitions Bureau, entitled In statu nascendi visum and dedicated to Kraków’s stained glass artists of the second half of the 20th century, as well as a tour of places connected with the sacred stained glass art of Rzeszów and Łańcut, organised on the third day of the conference. The conference also provided an opportunity to promote new publications by its co-organisers: a book published by the Association, Witraże secesyjne. Tendencje i motywy (Art Nouveau Stained Glass. Tendencies and Motifs) (the outcome of the previous session on stained glass, held in 2009 in Łódź), and the 3rd issue of the Sacrum et Decorum academic journal of the 19th– and 20th–century sacred art, prepared by the Centre.
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„WITRAŻE SECESYJNE. TENDENCJE I MOTYWY” Konferencja naukowa, Łódź, 13-15 maja 2009 r.

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Laskowski A.
Ochrona Zabytków
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2008
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issue 2
11-13
EN
An international scientific conference on ”Art Nouveau Stained Glass. Tendencies and Motifs” was held on 13-15 May 2009 by the Association of Lovers of Stained Glass ”Ars Vitrea Polona” and the Historical Museum of Łódź. The event gathered experts and lovers of stained glass from many parts of Poland, representing assorted institutions, as well as Ukrainian researchers. The majority of the papers dealt with stained glass found or executed in leading centres of the Polish Art Nouveau, including Kraków, Lviv, Łódź and Silesia. A presentation of factographic findings was accompanied by essential reflections about conservation. The programme of the meeting was enhanced by a tour along the trails of Łódź stained glass and a suitable exhibition featured at the Historical Museum of Łódź. A publication of the post-conference material would be an important summary of the achievements of these remarkable debates.
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Zespół witraży w kościele parafialnym w Mszance koło Gorlic. Przyczynek do dziejów witrażownictwa krakowskiego 2. ćwierci XX wieku

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Laskowski A.
Analecta Cracoviensia
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2013
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vol. 45
EN
Windows in the parish church of the Holy Apostles Peter and Paul in Mszanka near Gorlice, which supplements the architecture of the church built in 1938–1940 following the design of Edward Okoń, an architect from Tarnów, comprises 12 stained glass: two figural in the chancel, eight geometrical with medallions in the nave and transept, and two with monograms on both sides of the main entrance. Although plain in the artistic sense, and in the case of the figural ones – mediocre, these stained glass successfully complement the bright and orderly interior of the parish church. The inscriptions on two panels and existing archival sources inform us that the windows were created in 1938 in the Kraków workshop of Maksymilian Romańczyk. The archival documents describe the entire investment process leading to their creation and their repair which was necessary due to their deficient construction. This task was undertaken in 1949 by the renowned Kraków Stained Glass Company S. G. Żeleński, which is also described in detail in the historical records.Stained glass and primarily the archival materials preserved in Mszanka are excellent sources of many valuable details on stained glass workmanship in Poland in the second quarter of the 20th century, the division of tasks within stained glass workshops, the involvement of the clients, and on projects that the above-mentioned workshops were working on concurrently at that time – information which was previously unknown. In turn, the preserved company letterhead authorised with the original stamps provides useful information on the functioning of these types of workshops, their products and achievements. In quite a distinct manner, the letterhead also tells us a little about the history of the workshops.The above example confirms that works of art or archival material stored until this day in locations outside urban areas can valuably supplement and sometimes even alter our knowledge of stained glass art in Poland.
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O pracach rzeźbiarskich Antoniego Popiela dla jasielskich franciszkanów

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Laskowski A.
Archiwa, Biblioteki i Muzea Kościelne
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2015
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vol. 103
149-177
EN
The article discusses several elements of decoration and equipment of the Franciscan church in Jasło, destroyed during the Second World War, which was designed by Michał Łużecki, an architect from Lviv. These elements were created by a known Lviv sculptor Antoni Popiel. They are stone elements of church facade decoration (the statue of Our Lady of the Immaculate Conception and the bas-relief emblem of the Franciscan order) and wooden sculptures adorning the altar of the church, depicting such saints as: St. Anthony of Padua, Alphonsus and St. Francis de Sales. All were created in 1904-1905. These decorations evoke the names of the above mentioned sculptor’s collaborators from Lviv: Albrycht, a stonemason (the emblem creator); Michał Łużecki, an architect (the designer of the altar) and Tadeusz Sokulski, a woodcarver (the altar creator). Only one of Anthony Popiel’s works made for the Franciscans in Jasło survived to the present day- the statue of St. Anthony. It was originally placed in the central place in the structure of the main altar of the destroyed church. Today it is in the side chapel of the new Franciscan church, built after the war at a new site. This figure, miraculously saved from destruction, has long been worshiped in Jasło, which in 1996 led to the recognition of  St. Anthony of Padua as the patron saint of the town by the Town Council in Jasło. December 27, 2014 marks exactly a century since bringing the figure to Jasło. The article draws attention to the artistic values of the preserved sculpture, comparing it with other representations of this saint of that time created in the area of influence of the artistic community of Lviv. It can be concluded that the sculpture from Jasło is the work of an artistic value, the work which is an individual interpretation of the theme proposed by the sculptor. It can also be noted that Anthony Popiel’s works from Jasło, hitherto unknown to historians of art, are an interesting complement to his artistic achievements and significant contribution to the relationships between the sculptor and other artists associated with Lviv. The article is supplemented with the copy of Anthony Popiel’s letter of January 15, 1906  to the Franciscan Provincial, Father Peregrine Haczela, containing the estimate of three figures for the main altar of the former Franciscan church in Jasło. The letter is stored in the Franciscan archive in Cracow.
6
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On public participation in efforts to beautify the towns and cities of Galicia in times of its autonomy. Prolegomenon

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Laskowski A.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
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2022
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vol. 17
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issue 375
7-21
EN
This paper is an introduction to studies of Urban Beautification Societies (“UBSs” in the plural) active in times of Galicia’s autonomy (1867–1914). The Societies were community organisations set up in many cities and towns across Galicia from the 1880s onwards with a view to improve the aesthetic in public urban space. To Galicia, years of its autonomy yielded years of considerable expansion of civic freedoms, including the re-enacted right to association. Formed by individuals with university education, UBSs were popular throughout Galicia, their structure frequently reflecting the local cross-section and specificity of social strata. Established in large, medium-sized, and small cities and towns (such as Cracow and Lviv; Przemyśl; Wadowice and Wieliczka), they attempted to reach their goals chiefly through establishing urban parks and green squares (often as not with accompanying infrastructure, such as tennis courts or bowling alleys); planting trees in market and other public squares and along communication routes; developing aesthetically pleasing small architecture; and taking initiative to erect monuments and install commemorative plaques, usually commissioned with eminent artists. The latter – in large cities in particular, where art communities were large and powerful – were occasionally UBS co-organisers and members, and thus capable of considerable influence over any Society activities, potentially including publishing, graphic artists and painters especially prominent therein.
7
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Między folwarkiem a szybem Ziemianie galicyjscy a nafta na przykładzie Jasła i powiatu jasielskiego

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Laskowski A.
Studia z Historii Społeczno-Gospodarczej XIX i XX Wieku
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2010
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issue 08
121-134
EN
Surroundings of Jasło – provincial town situated in a half way between two political and cultural centers of Galicia: Kraków and Lwów – become in the fifties of the 19th century the cradle of oil industry. The first oil mine and – above all – the first industrial oil distiller in the world started to work just very close to it. Together with a growth of oil mining in the region Jasło itself become before 1900 an unofficial capital of Galician oil industry. A prosperity of the town was very close connected to rock oil exploration executed by the owners of the grounds situated in the neighborhood, in fact most of all the local gentry. Its traditional way of economic existence, based on the agriculture, had to be faced with a brand new way of thinking, characteristic for the industrial development. In this confrontation a local gentry appeared a class brave enough to be strongly engaged into the industrial process and – in the same way – very faithful (but not conservative) in its attitude to farming. Even the most successful noblemen in the field of oil industry did not give up with it and still treated it as a field of fruitful competition between each other.
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