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19TH CENTURY RELIGIOUS PAINTING AS A RESEARCH OBJECT IN ART HISTORY. RESEARCH PROBLEMS AND POSTULATE (Dziewietnastowieczne malarstwo religijne jako przedmiot badan historii sztuki. Problemy i postulaty badawcze)

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Lubos-Koziel J.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2009
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vol. 2
8-15
EN
Religious art of the 19th century did not arouse the interest of art historians until relatively late. This is why there are still numerous gaps in the research on the subject. In addition, studies of 19th-century religious art are not always accompanied by adequate methodological reflection or an understanding of the specific nature of the artistic current in question. The article draws attention to the following issues and problems, which should be kept in mind in the study of art in general and of 19th-century religious painting in particular: In the 19th century, religious art emerged as a separate current with a well-defined ideological program; it was also distinguished by the distinct style of works destined for the church. Keeping this separate status in mind, future research should take account of liturgical regulations, devotional practice, and the aesthetic and ideological agenda of the Church. At the same time, however, analyses of religious art should also deal with the broader external context shaped by the dominant secular currents of the period. An important problem for the study of religious art in the 19th century is posed by the evaluation of individual works and phenomena in question. We must oppose a generalized negative view of the period as a whole. On the other hand, it is equally unwarranted to judge it en bloc as being of high artistic value; alongside remarkable masterpieces, after all, the period also spawned a slew of works which were secondary and imitative, not to mention the abundance of mass-produced artistic items, such as chromolitographic prints, devotional drawings, etc. Importantly, all these areas are closely interrelated; in consequence, religious art in the 19th century can no longer be neatly divided into the high sphere of art and the low sphere of mass production. In this context, future research on 19th-century religious art should be called on to adopt a consistent descriptive and explanatory approach. Reconstructing the role of religious art in the broader culture of the 19th century can contribute to our understanding and acceptance of the aesthetic pluralism which marked the entire period.
2

CONTEMPOPARY ARTIST AND THE SACRUM. METAPHYSICAL THEMAS IN THE WORK OF TADEUSZ BORUTA, STANISLAW WIKTOR AND TADEUSZ WIKTOR (Polish title below)

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Ryba G.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2011
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vol. 4
95-119
EN
(Polish title: Artysta wspolczesny wobec sacrum. Watki metafizyczne w tworczosci Tadeusza Boruty, Stanislawa Bialoglowicza i Tadeusza Wiktora). In February 2009, to celebrate the opening of the Centre for the Documentation of Modern Sacred Art in Rzeszow, a small exhibition entitled Expressing the Inexpressible was organized. Its purpose was to give a succinct presentation of the ways in which metaphysical experience and reflection are expressed in contemporary art which takes its origins from Judeo-Christian tradition. The exhibition displayed works by three artists affiliated with the local university. Each represented a different current in contemporary painting: Tadeusz Wiktor (born in 1946), an abstract painter, exhibited his An Icon for Stanislaw. A prayer for Father (1993), Stanislaw Bialoglowicz (b. 1947), who draws inspiration from the classical icon, presented his A hidden record according to the icon 'St Luke painting the Hodegetria' (2006), and Tadeusz Boruta (b. 1957), usually associated with the figurative trend, displayed a painting entitled Doubting Thomas (1999). The work of Tadeusz Boruta apparently rejects collective experience in the search for God, placing emphasis on its individual and subjective character. His art can be seen as expressing the first stage of the creative effort, which involves the processes of knowing, experiencing, and understanding. Stanislaw Bialoglowicz moves his focus to the second stage, the actual creation, and Tadeusz Wiktor emphasizes the communicative aspect, concentrating on the experience of the Absolute in relation to the fellow man, who is specifically defined as the addressee of the artist's vision. Interestingly, none of the artists attempts to actually show the Inexpressible. This phenomenon is symptomatic of contemporary art in general and can be explained by the rise of individualism and subjectivism over the last two centuries, which also finds its specific manifestation in artistic attitudes and approaches to reality.
3

JANIS ROZENTALS' ALTARPIECES (Jana Rozentala altargleznas)

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Pujate I.
Materiali Latvijas makslas vesturei
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2008
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vol. 7
137-146
EN
The versatile painter and graphic artist Janis Rozentals (1866-1916) has made a significant contribution to the sacred art of Latvia. In his altarpieces, in line with the early 20th century artistic trends, the painter has subjectively interpreted the life of Christ and enriched the handling of form. A large number of sketches and preliminary drawings as well as models' photographs have survived, allowing to trace the artist's creative thought, versions of themes and interpretations, and reflecting the labour-consuming creation of Christ's, St. Mary's, disciples' and the simple folk's imagery. Still the artist's search for new expressiveness was not always approved, and Rozentals in his letter to the Stende pastor Karl Adolf Glazer deals with the significance of altarpieces in Latvian Lutheran churches and delineates these problems. In 1897 the artist completed the pastor Janis Osis' commission of altarpiece for the Kronau Church in the Province of Kherson, Ukraine. The surviving photograph allows assuming that the chosen topic is 'Christ in the Garden of Gethsemane'. Rozentals had intended to paint his first altarpiece in Latvia for the reconstructed Saldus Lutheran Church, but his proposal was turned down. In 1935 Jelgava Town Council had bought it for the decoration of hospital, but in 1947 the work 'Christ and the Samaritan Woman' was placed in a church - in the small hall of Jelgava St. Ann's Church. Many versions of the composition reflect the artist's experimentation with the main characters' psychological traits. The Latvian National Museum of Art owes a sketch for the altarpiece on the subject 'Christ Walking upon Water' (Navicella) created about 1902. Possibly it was intended for the Christ the Saviour's Church in St. Petersburg where the Latvian congregation existed. In summer 1903 Rozentals altarpiece 'The Ascension of Christ' was unveiled in Stende Church. The initial plan was to depict this event in a four-part composition, but in the last version only the central part with Christ's image was preserved. For the New St. Gertrude's Church Rozentals painted the altarpiece 'Let the Little Children Come to Me' (1908-1911). This work features influences of both the German artist Fritz (Friedrich) von Uhde and the Finnish artist Albert Edelfelt.
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