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1

Niezwykłe losy obrazów z kolekcji lubiąskiej

100%

Sztarbałło K.

Ochrona Zabytków

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2000

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issue 1

32-38

EN

The author describes the circumstances of the origin and later history of canvases by Michael Willmann, an outstanding Baroque painter from Silesia. In 16 5 6 -1 7 0 2 , Willmann executed a series of several score religious paintings, commissioned by the Cistercian abbots in Lubiąż. Subsequently, they comprised part of the outfitting of the local church. The rank of the collection was n o t impaired either by the secularisation of monastic property in 1810, the adaptation of the abbey for the purposes of a field hospital for Russian soldiers during the Napoleonic campaign, nor the opening of a hospital for mentally ill Prussian aristocrats. The beginning of the end of the Lubiąż collection dates back to 1936, when the abbey was converted into an armament factory. In 1940, the church was closed in connection with the p ro duction of aeroplane engines and secret preparations for the production of the VI and V2 missiles. When in 1943 armament enterprises from Berlin were evacuated to Lubiąż, Gunter Grundman, the then conservator of Wrocław, decided to rid the church of its outfitting, including about 40 paintings by Willmann. After the war, the canvases were stored in Szklarska Poręba, administered by Soviet military authorities. From here, at the end of 1945, 30 paintings and 40 period frames were moved to a central storehouse in Paulinum Castle on Krzyżowa Mt. in the region of Jelenia Gora, never to return to Lubiąż. In 1952, an agreement signed between the Ministry of Culture and Art and the Warsaw Metropolitan Curia enabled 30 paintings and 22 frames to be transferred to Warsaw. The remaining objects, after much turmoil, found themselves in the National Museum in Wrocław and Warsaw. The article contains an extremely valuable catalogue of paintings by Michael Willmann from the monastic church in Lubiąż, and gives the title of a given canvas, a brief technical description, and information about its current whereabouts.

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Technika Michaela Willmanna na przykładzie dwóch obrazów z lubiąskiego cyklu "Męczeństw" - "Męczeństwa św. Piotra" i "Męczeństwa św. Pawła"

75%

Sawicki T.

Ochrona Zabytków

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2000

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issue 1

39-47

EN

The painting technique of Michael Willmann discloses the influence of the greatest Baroque masters — Rembrandt and Rubens. The style devised by the master from Lubiąż is sufficiently characteristic to render his canvases easily recognisable among the extensive heritage of the seventeenth century. Two paintings from the Lubiąż series — The Martyrdom o f St. Peter and The Martyrdom o f St. Paul, executed in 1661, are an example of mature artistic skill. The conservation of the canvases, conducted in 1998 - 1999, made it possible to establish numerous interesting details of the Willmann technique. The paintings, 3,95 x 2,84 m. large, are executed on thick, hand-woven linen, with a simple weave. The canvases are stretched on wooden frames, bound with glutin glue and covered with red priming. The painter began with a shaded sketch, in which the blank spaces w ere marked with zinc white. The characteristic feature of the Willmann style is the fact th a t the initial drawing and red priming shine through many parts of the painting. The artist applied a perfectly mastered alla prima oil technique, consisting of w ide brush strokes, whose traces are discernible in the thick paint layer. Some parts of the canvases were completed by means of glazing. The wooden frames of the compositions are richly embellished with painted marmorisation, gilt and silver plating.

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Konserwacja obrazów Michaela Willmanna na przykładzie "Męczeństwa św. Piotra" oraz "Męczeństwa św. Pawła" : problematyka i zakres prac

75%

Potocka A. D.

Ochrona Zabytków

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2000

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issue 1

48-63

EN

The conservation and restoration of the paintings and frames of The Martyrdom o f St. Peter and The Martyrdom o f St. Paul by Michael Willmann took place in 1998-1999. The paintings in question were commissioned by Arnold Freiberger, the Cistercian abbot of the monastic church in Lubiąż, and were one of the first from a great cycle of several score canvases executed by this artist. Conservation was conducted in situ , in the gallery of the church of St. Stanisław Kostka in Warsaw, where the paintings are kept since 1952. The fact th a t they are displayed in the church apse, where they frame the main altar, together with the large size (285 x 295 cm.) of the paintings meant that the fundamental goal of conservation was the restoration of the original aesthetic and religious merits. The successive task, connected with the considerable weight of the canvases and frames (more than 250 kg. each), consisted of reinforcing the mechanical resilience of the old duplication, which it was decided to keep. The ensuing work involved repair, total cleaning, and the supplementation of missing fragments of the paint layer. Taking into consideration the fact that at least three previous conservations had been carried out in the nineteenth and twentieth century, it was necessary to perform all the operations exceedingly carefully and after scrupulous studies and tests, to avoid damaging the objects or weakening their already undermined mechanical resistance. The removal of varnish and dirt from the surface of the paint layer was conducted gradually, and the entire process was controlled in UV light, in order n o t to excessively clean the extremely dry and, in places, baked paint. Retouches of the paint layer were limited to inevitable spots, so as n o t to lose the rubbings, incomplete painting and translucence, characteristic for the author. It was decided to conserve and restore the frames, with the exception of a reconstruction of missing elements of the carving.

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Sztuka jako nośnik wartości oraz narzędzie do przekazywania prawd religijnych na przykładzie obrazów Michaela Willmanna

71%

Lekka D.

Studia Paradyskie

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2017

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issue 27

207-224

PL

Artykuł jest interdyscyplinarnym przedsięwzięciem łączącym zagadnienia z zakresu historii sztuki, nauk o sztuce, historii powszechnej oraz teologii. Rozpoczyna się od zaprezentowania specyfiki baroku na tle historycznych, społecznych i religijnych wydarzeń jakie miały miejsce w ówczesnej dobie, a mianowicie kontrreformacji jako odpowiedzi Kościoła katolickiego na szerzoną naukę protestantów. Ukazuje równocześnie rolę sztuki jako nośnika wartości i narzędzie do przekazywania prawd religijnych. W tym ożywionym czasie Kościoła sztuka stała się jednym z głównych głosicieli prawd chrześcijańskich, a w dzieło to wpisał się śląski artysta okresu baroku Michael Willmann (1630-1706), który na zlecenie cystersów tworzył monumentalne obrazy o treściach religijnych. Szczególnej uwadze poświęcony został cykl martyriów, a zwłaszcza kluczowy obraz „Podniesienie krzyża” stanowiący teologiczny punkt odniesienia dla pozostałych dzieł. Tematyka przedstawień, zawierająca program potrydencki i antyprotestancki, miała przekazywać prawdy wiary katolickiej, negowane wówczas przez protestantów i zachęcać wiernych do wytrwania w wierze.

EN

This article is an interdisciplinary undertaking combining the issues of art history, art sciences, world history and theology. It begins with presenting the character of the Baroque relating to historical, social and religious events which took place at that time, that is the Counter-Reformation as a reply of the Roman Catholic Church to the theory promoted by Protestants. At the same time it shows the role of art as a means of conveying values and a tool for communicating religious truths at the same time. In this active time of the Church art became one of the chief preachers of Christian truths. Michael Willmann (1630-1706), a Silesian artist of the Baroque period, became part of this work. Commissioned by the Cistercians, he created monumental images with reli-gious contents. Particular attention has been paid to the cycle of martyrdoms, especially the crucial image The Elevation of the Cross constituting a theological point of reference for the remaining works. The subject matter of the images, containing the after-Trident and anti-Protestant programme, was supposed to communicate the truths of the Catholic faith, negated then by Protestants, and to encourage the faithful to persevere in their faith.

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"Nawrócenie św. Pawła" z Muzeum Zamoyskich w Kozłówce domniemanym dziełem Michaela Willmanna

51%

Nawrocka-Teodorczyk M.

Ochrona Zabytków

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2001

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issue 2

157-169

EN

The conservation of the Baroque oil painting on canvas was conducted as a diploma work. The author attempted to attribute the painting of unknown origin and carried out its conservation, which involved the elimination of considerable deformations of the canvas, a two-stage doubling system, complicated cleaning of the heavily darkenedd surface, the removal of repainting and a reconstruction of missing fragments upon the basis of a discovered analogy in an engraving by Bolswert and paintings by Willmann. A comparative analysis of the style and the outcome of an examination of the chemical pigments and bindings indicate with a large dose probability the authorship of M ichael Willmann — the “Silesian Rubens”.

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4 Ochrona Zabytków

1 Studia Paradyskie

1 Lekka D.

1 Nawrocka-Teodorczyk M.

1 Potocka A. D.

1 Sawicki T.

1 Sztarbałło K.

1 2017

1 2001

3 2000

Niezwykłe losy obrazów z kolekcji lubiąskiej

Technika Michaela Willmanna na przykładzie dwóch obrazów z lubiąskiego cyklu "Męczeństw" - "Męczeństwa św. Piotra" i "Męczeństwa św. Pawła"

Konserwacja obrazów Michaela Willmanna na przykładzie "Męczeństwa św. Piotra" oraz "Męczeństwa św. Pawła" : problematyka i zakres prac

Sztuka jako nośnik wartości oraz narzędzie do przekazywania prawd religijnych na przykładzie obrazów Michaela Willmanna

"Nawrócenie św. Pawła" z Muzeum Zamoyskich w Kozłówce domniemanym dziełem Michaela Willmanna