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1
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Medale Jana III Sobieskiego pochodzące z okresu pomiędzy elekcją a koronacją (1674-1676)

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Rokita J. G.
Studia Europaea Gnesnensia
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2019
|
issue 19
235-270
EN
The chief aim of this paper is to acquaint the reader with three medallic pieces showing Jan III Sobieski, whilst trying to answer what kind of propaganda they may have served. The author provides an iconographic analysis and comparisons with other depictions in medals, graphic arts, sculpture, and handicraft.
2
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Medal upamiętniający zawarcie związku małżeńskiego między Teresą Kunegudną Sobieską a Maksymilanem Emanuelem Wittelsbachem z 1694 roku, autorstwa Georga Haustscha. Próba interpretacji na przykładzie wybranych dzieł sztuki (medalierstwa i grafiki)

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Rokita J. G.
Studia Europaea Gnesnensia
|
2018
|
issue 18
209-228
EN
In the article, the author describes in detail two selected pieces of art which bear considerable resemblance to the medal minted by Georg Hautsch. As the author observes, no representation in the entire painterly and graphic legacy of associated with Jan III Sobieski offers an direct prototype on which the medallist may have relied. It should therefore be suspected that the royal likeness on the obverse was based on several earlier representations in graphic arts or was an original project by Hautsch. Nonetheless, the features of the king were rendered in accordance with historical truth, as evidenced by anatomical details and salient features, such as Sobieski's moustache depicted in most of the realistic royal portraits. Therefore,  it would not be legitimate to claim that Sobieski was commemorated on the basis of a likeness of another European ruler.
PL
In the article, the author describes in detail two selected pieces of art which bear considerable resemblance to the medal minted by Georg Hautsch. As the author observes, no representation in the entire painterly and graphic legacy of associated with Jan III Sobieski offers a direct prototype on which the medallist may have relied. It should therefore be suspected that the royal likeness on the obverse was based on several earlier representations in graphic arts or constituted an original project by Hautsch.
3
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Uwagi ikonograficzne na temat medali ślubnych Fryderyka Augusta Wettyna i Marii Józefy Habsburg z okazji Festiwalu Planet w Dreźnie (od 10 do 26 września 1719 roku)

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Rokita J. G.
Studia Europaea Gnesnensia
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2022
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issue 24
115-152
EN
In the course of preliminary research, the author managed to locate most of the engravings by artists associated with the Dresden court: Oluf Wif, Johann August Corvinus and Carl Heinrich Jacob Fehling, whose work drew thematically on the reverses of the medals which commemorated the Festivaof the Planets in Dresden. These finds are the main subject of interest in this paper. The compositional relationship between medallic art and engraving is, in most cases, indisputable. It should be noted, however, that the medallist, having to reproduce a much larger engraving on a medal disc, was compelled to reduce many details that the engraver had so meticulously captured. Nevertheless, the inspiration with the engraving yielded works which are unique and extraordinary in terms of expression and content.
4
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Medal upamiętniający królewską koronację Jana III Sobieskiego i Marii Kazimiery w Krakowie pochodzący z 1676 roku. Uwagi ikonograficzne

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Rokita J. G.
Studia Europaea Gnesnensia
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2018
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issue 17
307-336
EN
The author of the article discusses in depth ten works of art (prints, numismatic pieces, sculptures) which demonstrate iconographic consistency with the obverse or reverse of the said medal. As the author argues, the medallionist sought both to reflect current events in Cracow and commemorate the beginning of the propitious reign of Jan III Sobieski and Maria Kazimiera, which would benefit the people of the Commonwealth (bear fruits), which is why he used well-known representations from 17th-century compendia of emblems as well as 16th- and 17th-century coinage and medals.
5
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XVII-wieczne medale oraz numizmaty pamiątkowe poświęcone oblężeniu osmańskiemu Wiednia w 1683 roku i jego niektórym aspektom

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Rokita J. G.
Studia Europaea Gnesnensia
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2019
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issue 20
83-104
EN
The author of the paper describes five works of medallic and graphic art associated with medals minted in the period of the Vienna victory. Iconographic analysis of the pieces, in the light of comparison with selected examples of other medals and graphic works, offers an insight into works of art which display similarities to representations on the obverses and reverses of Sobieski’s medals. The author demonstrates that the medals commemorating the victory at Vienna were intended to achieve one fundamental propaganda goal-meet the expectation of the founder of the medal and the party who commissioned it. Leopold I, who in the crucial moment of the relief stayed outside Vienna, sought to demonstrate that the most important element in the clash with the Turks was the sacrifice of the Austrian soldier and the divine providence which, in a time of need, protected the city and its residents. On the other hand, Innocent XI wished to highlight his own efforts made to annihilate the enemy through financial support (papal subsidy) and prayer.
PL
The chief aim of the paper is to introduce the reader to five specific pieces of medallic art, answer the questions what propaganda goals they were to accomplish, as well as provide am iconographic analysis, in comparison with selected examples of medals, graphic works, sculptures, and handicrafts.
6
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Medale koronacyjne Augusta II Wettyna w konfrontacji ze współczesnymi dziełami sztuki malarskiej i graficznej oraz ze spuścizną medalierską pozostałą po Janie III Sobieskim. Uwagi ikonograficzne

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Rokita J. G.
Przegląd Nauk Historycznych
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2020
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vol. 19
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issue 2
31-69
EN
The author describes sixteen examples of works of medal-making, painting, graphic and sculptural art related to the title medals. As the author shows, the aim of the medals described in the article was to justify the rights of the former Saxon elector to the Polish throne. The recipient, after even a cursory glance With the presented medal material, he could prove himself convinced of the excellent origin of August II and his ancestors (e.g. the medal, dated 1697 and signed on the obverse: C. W. [Christian Wermuth?]), the numerous qualities of the reigning Hercules (e.g. the medal by Georg Hautsch from 1697) or the heraldic connections between the Wettyn coat of arms and official emblems of the Crown and Lithuania (e.g. an unsigned medal from 1697). The author also distinguished and analysed in detail medals of heraldic, mythological-alegoric, emblematic and genealogical character. He also explained the reasons why in the preserved medallic legacy of Augustus II the medals on which the Saxon ruler was perpetuated prevailed in Western European costume, and not – as in the case of medal-making works carried out at the order of the Sobieski royal court – in the dress modelled on antiquity.
PL
Autor opisuje 16 przykładów dzieł sztuki medalierskiej, malarskiej, graficznej i rzeźbiarskiej mających związek z tytułowymi medalami. Jak wykazuje autor, podstawowym celem przekazu propagandowego wszystkich przedstawionych w artykule medali było uzasadnienie praw dotychczasowego elektora saskiego do tronu polskiego. Odbiorca po nawet pobieżnym zapoznaniu się z przedstawionym materiałem medalierskim mógł utwierdzić się w przekonaniu co do znakomitego pochodzenia Augusta II i jego antenatów (np. medal, datowany na 1697 rok i sygnowany na awersie: C. W. [Christian Wermuth?]), licznych przymiotów panującego utożsamianego z Herkulesem (np. medal autorstwa Georga Hautscha z 1697 r.) czy heraldycznych związków między herbem Wettynów a oficjalnymi emblematami Korony i Litwy (np. niesygnowany medal z 1697 r.). Autor ponadto wyodrębnił i szczegółowo przeanalizował medale o charakterze: heraldycznym, mitologiczno-alegorycznym, emblematycznym i genealogicznym. Wyjaśnił również powody, dla których w zachowanej spuściźnie medalierskiej po Auguście II przeważają medale, na których władca saski został utrwalony w stroju zachodnioeuropejskim, nie zaś – jak w przypadku prac medalierskich wykonywanych na rozkaz dworu królewskiego Sobieskich – w ubiorze wzorowanym na antycznym.
7
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Medale Michała Korybuta Wiśniowieckiego. Uwagi ikonograficzne

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Rokita J. G.
Studia Europaea Gnesnensia
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2023
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issue 25
59-107
EN
The author of this article discusses a series of works of art which include medals, portrait engravings, paintings and emblems. In addition to a detailed analysis of Michał Korybut Wiśniowiecki’s medallic legacy, the aim of this study was to find and describe those works of art that a medallist might have had contact with when undertaking commission from the king or his immediate circle. Identification of direct sources of inspiration for artists working in the 17th century, offers an answer the question of how Michał Korybut Wiśniowiecki promoted his own undisputed political or military achievements.
PL
Autor artykułu pt. „Medale Michała Korybuta Wiśniowieckiego. Uwagi ikonograficzne” opisuje dwadzieścia osiem dzieł sztuki wśród których wymienić należy medale, ryciny portretowe, obrazy i emblematy. Celem niniejszej pracy, prócz szczegółowej analizy spuścizny medalierskiej pozostałej po Michale Korybucie Wiśniowieckim było odnalezienie i opisanie dzieł sztuki, z którymi mógł mieć styczność medalier podejmujący się wykonania medalu na zlecenie króla lub jego najbliższego otoczenia. Identyfikacja bezpośrednich źródeł inspiracji dla działających w XVII wieku artystów pozwoliła lepiej odpowiedzieć na pytanie, jak Michał Korybut Wiśniowiecki propagował własne, bezsprzeczne osiągnięcia polityczne czy militarne.
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