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

100%

Kaminska R.

Makslas Vesture un Teorija

2004

vol. 2

20-28

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.

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

75%

Kaminska R.

Materiali Latvijas makslas vesturei

2006

vol. 5

9-23

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.

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1 Makslas Vesture un Teorija

1 Materiali Latvijas makslas vesturei

2 Kaminska R.

1 2006

1 2004

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

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