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1

STAINED GLASS IN POLAND IN THE FIRST HALF OF THE 19th CENTURY (Witraze I polowy XIX wieku na ziemiach polskich)

100%
Szybisty T.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2008
|
vol. 1
78-93
EN
In studies on the art of the past two hundred years there is a widespread view that stained glass windows reappeared in Poland after 1850, i.e. almost a hundred years later than in Western Europe, where interest in coloured glazing had been growing since mid-eighteenth century. The paper challenges that opinion and is aimed at preliminary understanding of the issues concerning stained glass of the first half of the nineteenth century in the Polish territories. A direct impact on the growth of interest in stained glass in Poland in the early decades of the nineteenth century was exerted by a fashion for the Middle Ages, originating in England and widespread especially in the circles of the aristocracy. It is in this context that one should locate the extraordinary collection of ancient stained glass windows gathered in Pulawy by Izabela Czartoryska of the Fleming family, and the coloured glass of the first neo-Gothic interiors, e.g. in the chapel in the palace of the Bishops of Krakow, decorated at the time of Bishop Woronicz, the Gothic House in Pulawy, the palace of Ludwik Pac in Dowspuda and the chapel of Anna Dunin-Wasowiczowa in Krakow's cathedral, with a stained glass window imported from the studio of Bertini and Brenta in Milan. Presentation of the beginnings of the stained glass revival in Poland is completed by stained glass technologies other than the classic ones and by colourful window glazing which was sometimes made instead of the figurative stained glass.
2
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SKLO V KOMBINÁCII S KOVOVÝMI MATERIÁLMI V ZBIERKOVOM FONDE MÚZEA MESTA BRATISLAVY

88%
Fiala A.
Študijné zvesti
|
2009
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issue 46
181 - 184
EN
In the collections of the City Museum in Bratislava except of functional glass articles there are also many glass objects combined with the other materials. They mainly belong to the sphere of artistic blacksmith´s and locksmith´ s trade as well as to the production of glass windowpanes. From the 2nd half of the 19th century we have dividing bars in combination of iron, bronze and glass. Two painted windowpanes from the 18th century come from the interior of the church of Poor Clares. From our later acquisitions we should mention the windowpane from the Jewish neologic synagogue built in 1893-1894 according to the project of the architect Dionýz Milch.
3

THE FORGOTTEN PASSION OF FRANCISZEK MACZYNSKI, AN ARCHITECT (Zapoznana pasja architekta Franciszka Maczynskiego)

75%
Czapczynska-Kleszczynska D.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2010
|
vol. 3
143-164
EN
Franciszek Maczynski (1874-1947), a well-known architect, connoisseur and lover of ancient buildings, had an obvious penchant for designing stained glass through all of his professional life, which has remained relatively unnoticed by researchers, focusing on his work as an architect. Maczynski's stained glass decorates sacred and secular buildings, sometimes also those designed by him. Many of them are lead-glass ones, made of colourless, semi-opaque glass with small multi-coloured plaques with coats of arms (the castle chapel in Zywiec, c. 1905) or most often with architectural motifs (predominantly towers, bell turrets and domes of Krakow churches, which were used by him for the first time around 1904 in the windows of the cloisters in the Convent of Discalced Carmelite Sisters at Lobzowska Street in Krakow). The polar opposite of these architectural miniatures is an exquisite stained-glass depiction of the wooden church at Komorowice Krakowskie, placed in the fanlight over the entrance to the new brick church in this village. Interesting lead-glass windows are used by the architect in the cloisters of the Franciscan Friary in Krakow, whose renovation he supervised (c. 1908). Maczynski was also familiar with figural compositions, as evidenced by the stained glass panels with the figures of saints at the church in Mogilany near Krakow and the Calced Carmelite Church in Krakow (1930). In the church stained glass Maczynski employed as well decorative and symbolic motifs (vases filled with flowers and fruits with hearts incorporated into them in the nave windows of the Jesuit Church at Kopernika Street in Krakow, 1912). The same theme, without symbolic overtones, was used by him later in stained glass intended for secular buildings. However, for his interior designs he preferred motifs from nature or architecture. Designing stained glass was not only Franciszek Maczynski's passion, but also a hard work of many years as the Art Director of Krakowski Zaklad Witrazow S.G. Zelenski. for which he also designed exhibition pavilions (among which the most interesting was the one for the Universal National Exhibition in Poznan in 1929).
4

FORGOTTEN ARTISTS. STATUS OF RESEARCH ON POLIS STAINET GLASS (FROM THE SECOND HALF OF THE 19th CENTURY UNTIL 1945) (Zapomniani tworcy. Stan badan nad polska sztuka witrazowa (2 polowy wieku XIX i 1 polowy XX))

75%
Czapczynska-Kleszczynska D.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2008
|
vol. 1
94-123
EN
Contemporary Polish stained glass art is a field still little known and underestimated. A breakthrough in research was made by Jerzy Frycz, who in 1974 published a pioneering paper which, against the background of stained glass revival in Europe, presented the history of stained glass art in the Polish territories in the 19th and 20th centuries, and outlined the activity of several workshops. In subsequent years, inventory work was undertaken, first including stained glass windows in secular buildings in Lodz and Krakow. The full inventory of stained glass from the period in question has not been completed until today, which limits general analyses. This is all the more painful that the resources of stained glass decrease year after year. Research is being conducted in several centres, the most important of which is Krakow. The studies are undertaken by both academic institutions and individual researchers. Since 1999, the Association for Stained Glass Art 'Ars Vitrea Polona' has been contributing to the development of research on Polish stained glass art, mainly by organizing periodic conferences. What still remains insufficiently clarified are the issues concerning the revival of stained glass art in Poland and the role of stained glass in sacred and secular interiors. Few works of art have their extensive studies. The biographical entries and other works on artists who are known to have designed stained glass windows usually contain only brief or no information about this area of their activity. No stained glass factory has a full monograph, although much is already known about their achievements. There is also no Polish dictionary of terminology. This poor state of research does not fully reflect the resources and the artistic level of modern Polish stained glass, and the results are not taken full advantage of in studies dealing with issues of art and crafts of this period.
5

SOME OBSERVATIONS ON THE STAINED GLASS PANELS BY STANISLAW WYSPIANSKI AND JOZEF MEHOFFER IN THE WESTERN WINDOW OF ST MARY'S CHURCH IN KRAKOW (Polish title below)

75%
Szybisty T.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2010
|
vol. 3
127-142
EN
(Polish title: Kilka uwag o witrazach projektu Stanislawa Wyspianskiego i Jozefa Mehoffera w oknie zachodnim kosciola Mariackiego w Krakowie). The stained glass designs by Jozef Mehoffer and Stanislaw Wyspianski for the western window of St. Mary's Church in Krakow have been the subject of extensive research. However, the question of the authorship of individual panels has not been answered yet. On the basis of a remark made by Wyspianski in a letter to his uncle Stankiewicz it can be stated with certainty that the whole left (southern) half of the window was based on Wyspianski's concept. Wyspianski was also the author of the designs for the panels in the tracery. Apart from the answering the attribution questions, the articles discusses also the circumstances in which the designs and the glazings for the western windows were made in the context of the major renovation St. Mary's Church was undergoing in the late 19th century. It also discusses the ideological and artistic questions connected with this set of designs, including the allusions to Veit Stoss sculpture and French art.
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