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Graﬁczna teza akademicka Andrzeja Kuropatnickiego

100%

Tomczak R. T.

Studia Źródłoznawcze. Commentationes

2017

vol. 55

Andrzej Kuropatnicki’ academic graphical thesisGraphical academic theses are a very interesting source due to its interdisciplinary nature and the richness of their ideological, political or artistic content. Nevertheless, a majority of “Polish theses” have not been properly examined or analysed by Polish researchers. This is also true for a highly valuable Kuropatnicki’s graphical thesis of 1682, being an apotheosis of King Jan III Sobieski as the victor of Chocim, and Prince Jakub as his successor on the throne, which for a long time had been known only in part. The discovery of the whole original thesis in the National Library in Prague made it possible a thorough and multi-faceted study of the source and to broaden the current knowledge on the subject. Using the hermeneutic approach, philological and comparative methods, together with the literature on the subject of history of arts, it was possible to present the authors of the graphic (the etcher and painter), its inspirer, and also its sophisticated scientiﬁc, ideological, artistic and socio-political context, which led to the printing and propagating of Kuropatnicki’s graphical thesis. In addition, the basic research terminology has been made uniform and some pioneering interpretations put forward.Kuropatnicki’s graphical thesis turned out to be an original and in many aspects innovative ideological and propagandist medium to glorify King Jan III Sobieski and his son in the iconography of the so-called “pre-Vienna epoch”. A prestigious representation of the king in the all’antica type ideally inscribed to both Sobieski’s personal political programme, and the state one, for it explicitly manifested pro-Habsburg and anti-Turkish sentiments in the Commonwealth at that time.

O dwóch funeralnych fundacjach Michała Kazimierza Radziwiłła „Rybeńki”

75%

Osiecka-Samsonowicz H.

Biuletyn Historii Sztuki

2020

vol. 82

issue 3

367-402

The paper discusses the artistic setting of funerary ceremonies mounted by Michael Casimir ‘Rybeńko (Little Fish)’ Radziwiłł as exequies of James Louis Sobieski (son of John III) in Żółkiew in 1743 and the funeral of Anna Katarzyna Radziwiłł née Sanguszko held in Nieśwież in 1747. The decorations of both ceremonies, ranked among the most sumptuous in the 18th-century Polish-Lithuanian Commonwealth, have not as yet been thoroughly discussed in the literature on the topic, despite standing out as examples of the architectural castrum doloris, a rare type in Poland. Both catafalques designed by Antonio Castelli and Maurizio Pedetti respectively, referring to the form of the Roman Baroque tempietto, remain genuine and important examples of late Baroque European funerary art.

W artykule omówiono oprawę plastyczną uroczystości funeralnych, zorganizowanych przez Michała Kazimierza Radziwiłła „Rybeńkę” z okazji egzekwii za Jakuba Ludwika Sobieskiego (syna Jana III) w Żółkwi w 1743 r. oraz pogrzebu Anny Katarzyny z Sanguszków Radziwiłłowej w Nieświeżu w 1747 r. Dekoracje obu uroczystości, należące do najbogatszych w XVIII-wiecznej Rzeczypospolitej, nie doczekały się dotąd wyczerpującego omówienia w literaturze przedmiotu, chociaż wyróżniają się bardzo rzadkim w Polsce typem architektonicznego castrum doloris. Oba katafalki, których twórcami byli Antonio Castelli i Maurizio Pedetti, nawiązując do formy rzymskiego barokowego tempietta, pozostają oryginalnymi i ważnymi przykładami europejskiej późnobarokowej sztuki funeralnej.

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1 Studia Źródłoznawcze. Commentationes

1 Osiecka-Samsonowicz H.

1 Tomczak R. T.

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Graﬁczna teza akademicka Andrzeja Kuropatnickiego

O dwóch funeralnych fundacjach Michała Kazimierza Radziwiłła „Rybeńki”