Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 7

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

CONSTRUCTION HISTORY OF KRASLAVA CATHOLIC CHURCH AND MONASTERY IN THE REGIONAL HISTORICAL CONTEXT (Kraslavas katolu baznicas un klostera buvvesture novada vesturisko liktenu kopsakaribas)

100%
Kaminska R.
Materiali Latvijas makslas vesturei
|
2006
|
vol. 5
9-23
EN
Social, economical and political history is not always the most significant aspect in the study of architectural and artistic heritage. Still there are periods when the correlation between these factors and building activities acquires a special importance. Usually these are periods of changes when new political powers manifest their ideas that might concur with new conceptions of style and form as well as with involvement of masters coming from certain schools. The fortunes of Kraslava St. Louis' (Ludwik's) Church construction and artistic finish provide a good example. They have been influenced first of all by historical collisions concerning supervision and government of Eastern Latvia in the 18th and 19th centuries: independent principality of Polish Livonia included in the Polish-Lithuanian Commonwealth (1562-1772) and the Western Province of the Russian Empire (since 1772). Parallel shifts of confessional balance influenced by re-catholisation processes happened in the region. They were related to the activities of particular Catholic spiritual orders in the 18th century. At the same time sequential shifts of historical stylistic paradigms are evident and local modifications of late Baroque are replaced by Neo-C1assicism in religious architecture and art by the end of the 18th century. Wooden church building in Kraslava has been mentioned already in the 16th century but in 1676 Jesuit Georg Ludinghausen-Wolff built a new wooden church on its place where Jesuit fathers subordinated to the Daugavpils residence of the order have served. Most significant changes in Kraslava started in 1729 when it passed to the Plater family. Initially Jesuits retained their positions in the Plater family properties and, possibly influenced by Jesuits, this German protestant family returned under the wing of the Catholic Church in the late 17th century. When Konstanty Ludwik Plater (1722-1778) took over the Kraslava manor, ambitious plans were carried out to build up the main family residence.
2

FILIPPO CASTALDI AND HIS HERITAGE (Filipo Kastaldi un vina mantojums)

100%
Kaminska R.
Makslas Vesture un Teorija
|
2004
|
vol. 2
20-28
EN
The Baroque and Neo-Classicism periods have left significant monuments in Latvia but the names of their creators are often unknown. This is especially important in the case of Latgale or the former Polish Livonia where architecture and artworks of high quality are often difficult to attribute. Before WW II Polish art historians were interested in the work of Italian-born painter Filippo Castaldi (1734-1814) in various regions of the country, including Latgale. But a more comprehensive insight into this master's work became possible only after the publication of Professor Andrzej Ryszkiewicz's article in 1965. It should be noted that Latvian art historians in the late 1980s could only benefit from this article. Restoration works at the Kraslava St. Louis Catholic Church have again drawn attention to this name in the context of 18th century Latvian art history. In 2003 when the high altarpiece was put to restoration, a niche with a well-preserved Castaldi mural was discovered. Information on the life of Filippo Castaldi (Gastoldi, Gustelding) remains to be fragmentary. The painter was born in 1734 in Arpino, in the Frosinone region of Italy, but nothing is known about his childhood and studies. About 1760 he arrived in Poland, perhaps invited by the Bishop Zaluski; he is known to have found an employer in Polish Livonia close to that time. This was the Kraslava landlord Konstanty Ludwik Plater who had started the ambitious construction of his main residence - the Kraslava town complex and palace ensemble. 19th century sources referring to archive documents attest that this master has painted a number of altarpieces in the Kraslava St. Louis Catholic Church. These were retable compositions painted on a wall that illusively depicted both plastic formations and figural compositions of altarpieces. Part of the attic of the high altar retable that was repainted later has survived. The composition 'St. Louis Departs for the Crusade' painted on the wall in the altar niche on view now is as it was since the restoration of around 1820.
3

ARTISTIC MONUMENTS IN LATGALE IN THE CONTEXT OF THE REGION'S HISTORY OF CULTURE AND THE ARTS (Latgales makslas pieminekli novada kulturas un makslas vestures konteksta)

100%
Kaminska R.
Materiali Latvijas makslas vesturei
|
2000
|
vol. 1
51-62
EN
There are some 2,700 artistic monuments in Latgale, according to a list that was prepared by specialists in the field of cultural monuments. These are works of fine and applied arts which, in most cases, have survived in the region's churches and cemetery chapels and which can be dated from the 16th to the 20th century. The contacts which the region has had with various European arts phenomena over the centuries reveal a specific choice of sources of inspiration and the involvement of specific professional foreign artists in fulfilling orders from Latgale. The dominant direction in the artistic heritage created under the influence of the Catholic Church's traditions is the Southern direction' which filtered into Latgale via the experience of Central European artists. This can be seen most clearly in late-Baroque stucco sculptures in Latgale, and is connected with sculptors of the so-called Vilnius Baroque center. Further evidence of links with the artistic pursuits of Southern European Catholic countries is found in the fact that paintings by Andrea del Sarto, Guido Reni, Bartolome Esteban Murillo and others were localized or copied for altars in Latgale's churches. 19th century links with the countries of Central Europe, in turn, are evidenced in the fact that such artists as Jan Matejko, Jozef Peszka, Apolinary Horawski and Kazimierz Alchimowicz, among others, were commissioned to do work for churches in Latgale. The traditions of ancient Russian art came into Latgale along with the arrival of Old Believers from the Orthodox Church in the late 17th century. Most of these people came from deep within Russia's heartland, bringing along icons, books and items of metalwork - collections there were updated over the course of time. Many items were created on the spot, and this work continues to this very day in such towns as Daugavpils and Rezekne. The style of these artworks is dominated by influences from Northern Russia, but there are traces of other regions, too, including some echoes of Western art. In other words, the presence of both the Eastern and the Western Christian church helped to establish the colorful uniqueness of culture in Latgale.
4

THE HERITAGE OF DAUGAVPILS SACRED ARCHITECTURE AND ART IN THE SPECIFIC CONTEXT OF URBAN AND REGIONAL CULTURAL HISTORY (Daugavpils 18.-20. gs. sakralas arhitekturas un makslas mantojums pilsetas un novada kulturvestures savdabibas konteksta)

100%
Kaminska R.
Materiali Latvijas makslas vesturei
|
2007
|
vol. 6
78-94
EN
Sacred buildings have always had a particular role in shaping the specific features of urban environment. Churches and their fortunes are not just testimonies of recent or ancient history of the town or city. They create significant accents in urban space, often being the dominant architectural elements of historical centres or particular districts. Important art collections also have been accumulated in churches and prayer houses over centuries and decades, and their interiors have been decorated by professional artists. So churches represent not only a certain typology of functional solutions derived from confessional requirements, changes of aesthetic appearance conditioned by historical styles or evolution of the architect's individual style but manifest a wider perspective of interrelations. The heritage of sacred architecture and art can reflect the typical features of the regional culture and this perfectly relates to the city of Daugavpils, its churches and prayer houses. The history of Daugavpils abounds in dramatic events and its historical architectural heritage as well as some important buildings today are things of the past, still the specificity has survived. Churches have been destroyed, restored and rebuilt several times along with the city in general, sacred architecture still being the organising core of the city centre. In fact, one can speak about two cities - one being the pre-18th-century town, today found only in researchers' reconstructions, the other created in the 19th century. Only written evidence is found on the oldest, initial period of building in Daugavpils. The 18th-century heritage is elucidated by a wider scope of historical sources. Buildings are gone; only outlines of foundations remain also from the most prominent sacred building of this period, Daugavpils Jesuit Church and monastery. It was damaged during World War II and destroyed afterwards.
5

THE DESTINY OF RESEARCH INTO THE HISTORY OF ARCHITECTURE OF LATGALE (Latgales arhitekturas vestures petniecibas likteni)

100%
Kaminska R.
Materiali Latvijas makslas vesturei
|
2001
|
vol. 2
69-79
EN
If we analyze the accomplishments of Latvia's art specialists thus far, we see that one of the most important areas of work has been research into the history of architecture in various parts of the country. Traditions of researching the architecture of Latgale have developed in several phases. Thus, for example, authors working in the region in the first half of the 20th century developed themes which appeared in the work of professional art and architecture historians in the late 19th and early 20th century (among them Wilhelm Neumann) - a look at important churches and Medieval castles in Latgale in the context of the Baltic region. Monuments in Latgale were also reviewed in the context of Latvia's entire artistic heritage (Boris Vipper). Arturs Krumins, for his part, produced a monograph on the 18th century architecture in Latgale, Most of the attention during this period was devoted to older architectural monuments, and the idea that Latgale's architecture is unique in some way was associated at that time with the concept of 'Lettigalian Baroque'. In the latter half of the 20th century, too, Latgale has most often been considered in the context of Latvian architecture as whole. The range of historical periods, comprising specific phenomena under investigation, however, expanded. Architecture from the 18th to the 20th century has been studied extensively (Dainis Brugis, Janis Zilgalvis, Ieva Lancmane, Janis Krastins, etc.). Monuments from Latgale have increasingly been appearing in encyclopedic or summarizing publications devoted to the broader Northeastern European region Jurijs Vasiljevs, etc.). Polish researchers have particularly been interested in Latgale. This has been seen in attributions (Kazimierz Glowacki, Stanislaw Lorentz), in searches for stylistic expressions in certain eras (Zbigniew Homung), and in the context of studying philanthropic work and the activities of spiritual orders (Andrzej Baranovski, Jerzy Paszenda, et al.).
6

RECATHOLISATION OF EASTERN LATVIA: INFLUENCES UPON THE HERITAGE OF CHURCH ARCHITECTURE AND ART (Austrumlatvijas rekatolizacija un tas ietekmetais baznicu arhitekturas un makslas mantojums)

100%
Kaminska R.
Materiali Latvijas makslas vesturei
|
2008
|
vol. 7
31-46
EN
Changes in confessional structure and influences should be taken into account by scholars dealing with culture and art. This heritage, in its turn, is an important reflection of the processes going on in cultural history, the actually tangible and analysable entity of phenomena in architecture and art both in particular regions and in Latvia in general. Largely because of this we can speak of regional specificity in Latvia's artistic culture that is rooted in history but retains its significance till our days. These differences stand out quite clearly in various regions of Latvia. The origins of peculiar traits are complicate enough to be reduced to confessions of religion. Still this aspect coincides with the culture researcher Andrejs Johansons' thesis on the process of acculturalisation and the role of church in the regional life in Latvia. It has influenced the ideas of the variation: the familiar and the alien (different) in cross-regional assessment. These differences in Latvia have been historically conditioned by two processes - Reformation and recatholisation. They had not passed by Eastern Latvia as well (meaning the present territory of Latgale and partly Augszeme). The 16th century Reformation involved the entire territory of Latvia, but recatholisation was most successful in this particular part of Latvia. The 17th-18th century artistic heritage reflects and largely typifies precisely this difference of sacred culture, creating a sort of paradigm already then: tradition in the choice of church building prototypes (specific spatial solutions), typical furnishing of premises (involving the masters of fine and applied arts), and a certain tradition in selection of artistic impulses.
7

THE MIRACULOUS ICON OF OUR LADY OF AGLONA IN THE CONTEXT OF CHURCH AND ART HISTORY (Aglonas Brinumdaritajas Dievmates glezna makslas un baznicas vestures konteksta)

100%
Kaminska R.
Materiali Latvijas makslas vesturei
|
2003
|
vol. 3
36-43
EN
In the sacred art heritage of the Baroque period in the Catholic regions of Latvia mariological motifs are to be pointed out as one of the most significant aspects of the iconographical programme of church painting. The amount of surviving paintings from the 17th and I 8th centuries is not large. However, some significant examples of miraculous icons of God Mother in churches of Eastern Latvia (Latgale) allow to state a definite orientation in the use of iconographical prototypes. Simultaneously they illustrate specific stylistic features of Baroque art in this region as well as its connection with artistic heritage of Polish-Lithuanian Commonwealth. Among the miraculous Icons of Mother of God a very special role in Latvia is played by the icon of Our Lady of Aglona in Latgale (former Polish Livonia). Stories and legends link the paintings of Aglona and the Miraculous Icon of Mother of God of Trakai in Lithuania as the copy and the original. Still the appearance of the original in the Baltic area has been connected with the Icon's participation in the history of diplomacy and Christianisation of Lithuania. A text of later date on the back of the painting of Mother of God of Trakai says that it has been presented to Grand Duke of Lithuania Vytautas (c. I 350-1430) by Byzantine Emperor Manuel II Palaeologus (deceased in 1452) to mark the Grand Duke's convert to Christianity. In Lithuania, the present was placed in the Naujoji Trakai church. According to this information the further chronological moment we can go back in the adventurous history of this painting is the time of Palaeologus dynasty (1261-1453) in the art sphere of Byzantine or Eastern Christianity. The first recorded copy of that Image in Lithuania was mentioned in the St. Peter and St. Paul's Church in Varniai in Samogitia. In the 2nd part of the 17th century a copy of the image of Mother of God of Trakai was mentioned in Trakai Gate in Vilnius (now in the church in Nemencine). However the Miraculous Icon of Our Lady of Aglona has been accepted as the copy which is the most valuable and closest to the accessible original among all known oldest copies of the Trakai painting.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.