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1

“Towards the revival of religious art”. The revival efforts for church art in Polish Lands between 1900–1930 (with particular emphasis on wall-paintings)

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Wolańska J.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2012

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vol. 5

8-43

EN

For over 200 years now, that is, at least since the French Revolution, religious, or church art has been plagued with the notion of its inadequacy to the expectations of the faithful and the resulting need for the “eternal resurrections of sacred art” (les éternelles résurrections de l’art sacré). The present paper looks at such attempts undertaken on the Polish ground roughly in the first thirty years of the 20th century, particularly in the period spanning the two decades between two major exhibitions of church art, held in Cracow in 1911 and in Katowice in 1931, and church mural paintings as the form of art that was famously flourishing on the Polish lands in the 1890s, that is at the beginning of the period under discussion. The critical appraisal of the attempts at the renewal of church art, presented on numerous examples in the paper, based on contemporary press and literature, is aimed at showing the futility of such efforts, as the sphere of the sacred seems to defy any rationalised measures taken to “revive” or “renew” it.

2

The activity of Franciszek Białkowski and Władysław Skibiński. A contribution to the research on the work of Warsaw stained-glass studios

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Czapczyńska-Kleszczyńska D.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2012

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vol. 5

63-86

EN

In 1902, a stained glass studio was established in Warsaw by Franciszek Białkowski and Władysław Skibiński. The cooperation between them soon ran its course and by1905, the two artists were already running two independent companies, producing stained-glass windows intended mainly for Roman Catholic churches throughout the Kingdom of Poland. “The Białkowski & Co. Artistic Stained Glass Studio”, awarded at multiple Polish and international exhibitions, produced figural and decorative stained glass designed by the owner himself and by other artists, such as Jan Kanty Gumowski (Żyrardów), Konrad Krzyżanowski (Brześć Kujawski, Limanowa), Eligiusz Niewiadomski (Konin), Jan Henryk Rosen (Lviv, the Armenian Cathedral and the Church of St Mary Magdalene), Edward Trojanowski (Lubraniec). The atelier was closed down in c. 1930. We only know of a few sacred stained-glass decorations produced by the other workshop discussed in the article, the “Skibiński Artistic Stained Glass Studio” (Kalisz, Czarnia, Opatówek, Mełgiew, Czarnożyły. Ciechocinek). At least some (e.g. those in Kalisz) were designed by Skibiński himself; the only designer known to have collaborated with the workshop was Włodzimierz Tetmajer (the “Under the Eagles” Chapel in Kalisz). The atelier was shut down in c. 1921, and its stock of glass was bought by the owner of the S.G. Żeleński Cracow Stained Glass Studio, who later frequently enlisted Skibiński’s services as an experienced stained-glass artist. The purpose of this article was to present preliminary conclusions concerning the two ateliers and to inspire scholars to conduct further research on the little known subject of the Warsaw stained-glass industry in the 1st half of the 20th century.

3

Problematyka migracyjna XX wieku a troska Kościoła katolickiego o wychodźców sezonowych na przykładzie diecezji tarnowskiej w latach 1910–1913

84%

Glugla P.

Historia Slavorum Occidentis

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2021

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issue 4 (31)

149-171

EN

The late 19th century witnessed increased migration from the Polish territory, including the then Galicia, Eastern Europe. The Catholic church played a special role in caring for young seasonal immigrants. Among the numerous forms and preventive measures was organising and conducting spiritual retreats for seasonal immigrants, including the Tarnów diocese.

4

Wall-paintings in the Ukrainian Greek Catholic Church of Christ Lover of Mankind in Zhovkva. History of the absidal scene of The Ascension of Our Lord and its iconographic analysis (selected elements)

84%

Orzechowski M. I.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2012

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vol. 5

44-62

EN

The purpose of the article is to present the history of the mural paintings in the Basilian Church of the Sacred Heart of Jesus (today known as Christ Lover of Mankind) in Zhovkva and to perform an iconographic analysis of selected elements of the absidal scene of The Ascension of Our Lord, which contains elements clearly related to the temple’s name. The Dobromyl Reform (1882–1904) of the Greek Catholic Basilian order contributed to intellectual revival and the restoration of its Galician monasteries. Among the modernization projects carried out at that time, special attention should be drawn to the murals in Zhovkva, painted by a young Ukrainian painter, Julian Bucmaniuk (1885–1967). The decorations were created in two stages: 1911 (the Chapel of the Protection of the Mother of God) and 1932–1939 (interior of the church). The polychromes of the chapel address Marian themes. The iconography of the murals, in turn, drew on the Byzantine model developed in the 9th and the 10th centuries, with its typical three motifs; the theophanic-doxological and prophetic motifs are evident in the area of the dome, sanctuary, and the eastern bay of the naos, while the evangelical-apocryphal motifs dominate in the kriloi (dodecaorton) and the naos. These are supplemented by two additional themes, the hagiographical and the historical. New elements (apart from the updated historical scenes) include the representations of the Sacred Heart of Jesus, the most intriguing of which are the absidal image of Christ the Pantocrator with a heart in his bosom in the scene of The Ascension of Our Lord.

Refine search results

3 Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

1 Historia Slavorum Occidentis

1 Czapczyńska-Kleszczyńska D.

1 Glugla P.

1 Orzechowski M. I.

1 Wolańska J.

1 2021

3 2012

“Towards the revival of religious art”. The revival efforts for church art in Polish Lands between 1900–1930 (with particular emphasis on wall-paintings)

The activity of Franciszek Białkowski and Władysław Skibiński. A contribution to the research on the work of Warsaw stained-glass studios

Problematyka migracyjna XX wieku a troska Kościoła katolickiego o wychodźców sezonowych na przykładzie diecezji tarnowskiej w latach 1910–1913

Wall-paintings in the Ukrainian Greek Catholic Church of Christ Lover of Mankind in Zhovkva. History of the absidal scene of The Ascension of Our Lord and its iconographic analysis (selected elements)