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Kościół świętych Piotra i Pawła na Antokolu. Kilka uzupełnień

100%

Karpowicz M.

Biuletyn Historii Sztuki

2014

vol. 76

issue 3

475-496

The inside of the Church of Sts Peter and Paul at Wilno’s Antokol features one of the richest stucco decorations in Europe executed in the last quarter of the 18 th c. Its ideological programme is unique in Europe, since the clue to its understanding can be found in the ship model made of glass crystals and suspended in the church’s dome, generally known to symbolize the Church. Archival records inform that the church’s founder Hetman Michał Kazimierz Pac was also planning to make the high altar of crystals. Unfortunately, he passed away in 1682, failing to implement this exceptionally ambitious concept. What remains of the planned altar is the figure of Risen Christ, moved to a niche in a chancel wall. The statute is a stucco version of Giambologna’s magnificent ‘flying’ Mercury, which the Antokol stuccatore Piotr Perti must have seen in Rome. The second statue moved to a niche in a chancel wall is the Madonna on a Dragon modelled on the painting by Pietro da Cortona and Cirro Ferri. Moreover, four pendentives with the Evangelists follow Italian paintings: two repeat Giovanni Lanfranco’s compositions from Rome’s Church of S. Agostino, the other two copy Mattia Preti’s drawing designs, currently kept at Naple’s Capodimonte

Uwagi na temat pierwowzorów dzieł Szymona Czechowicza i malarzy jego kręgu

80%

Michalczyk Z.

Biuletyn Historii Sztuki

2013

vol. 75

issue 4

697-773

During the entire period of his activities in the Polish territories, Szymon Czechowicz applied graphic models. The unique character of this approach, arguably stemming from the quality of education he had acquired when in Rome, boiled down to the consistency in his choice of prints, the majority of which he may have brought with him from Rome. As for the choice of compositions for copying and adaptation, Carlo Maratta provided the most important examples. Subsequently, the following Roman artists of the 17 th and early 18 th century should be named: Sebastiano Conca, Niccolò Berrettoni, Pier Leone Ghezzi, Pietro da Cortona, Giovanni Lanfranco, Pietro Nelli, Benedetto Luti, Mario Balassi. Among the presented paintings whose compositions are either literal or minimally modified repetitions of other artists’ solutions, there are hardly any high-quality works: monumental paintings, meant to form part of the high altar. Instead, what dominate are smaller-sized canvases placed in side-altars, crowning the high altar, in the backrests of the choir stalls, as well as a relatively small devotional painting; finally, paintings created with a significant if not dominant, contribution of the studio.

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2 Biuletyn Historii Sztuki

1 Karpowicz M.

1 Michalczyk Z.

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Kościół świętych Piotra i Pawła na Antokolu. Kilka uzupełnień

Uwagi na temat pierwowzorów dzieł Szymona Czechowicza i malarzy jego kręgu