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Jubileuszowy rok konserwatorstwa polskiego : uwagi o znaczeniu powojennych odkryć późnogotyckich malowideł ściennych na Śląsku

100%

Jankowski A.

Ochrona Zabytków

1998

issue 4

396-401

Postwar discoveries of numerous Late Gothic complexes of murals in Silesia can be included into the greatest achievements of Polish conservators in recent decades. The disclosed material became an invaluable source of knowledge about the stylistic properties of murals from the second half of the fifteenth century and the beginning of the sixteenth century. First and foremost, it accentuated the importance of the problem of space in the development of this domain of art during the last stage of the Gothic style. Late mediaeval sacral interiors were embellished with decorations creating a suggestive illusion of painterly and architectonic space. This feat called for the capability of analysing the optical and perceptive situation of the viewer, and the adaptation of the decorative conception to the architectonic- spatial conditions of the interior. Painters constructed space in an intuitive manner, but also upon the basis of principles close to the Renaissance geometric perspective, skillfully combined with so-called colour and aerial perspective. Those innovative attainments of the Silesian artists did not alter the fundamental functions of wall decorations, which in sacral buildings continued to serve the purposes of catechesis. The impression of integral space, connected with the presentation of the vision of sacrum, as well as architectonic space, produced a feeling of direct bonds with the world of religious transcendence and helped to understand the essence of the sacral interior and the rites performed therein. Nonetheless, in comparison with earlier works, Late Gothic murals required a greater perspective involvement of the viewer, both emotional and intellectual. Historical monuments discovered during the recent decades enhanced our knowledge about the contents, changing social determinants, techniques, and new colour solutions of murals at the threshold of the Renaissance.

Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork

71%

Tracz S.

Perspektywy Kultury

2020

vol. 30

issue 3

151-178

Biskup warmiński Krzysztof Andrzej Jan Szembek ze Słupowa (1680–1740) przy archikatedrze we Fromborku ufundował kopułową kaplicę relikwiarzową pw. Najświętszego Salwatora i św. Teodora Męczennika (Teodora z Amazji), zwaną także Szembekowską. Całość wnętrza kaplicy pokrywają freski wykonane około 1735 roku przez Macieja Jana Meyera (Matthiasa Johanna Meyera) z Lidzbarka Warmińskiego. Wykształcony w Italii artysta wykonał polichromię w typie malarstwa iluzjonistyczno-architektonicznego określanego jako kwadratura. W dolnej części kaplicy przedstawiono popiersia świętych oraz w całej postaci św. Teodora z Amazji, a w czaszy kopuły adorację Trójcy Świętej oraz Krzyża Świętego przez Matkę Boską i świętych. Poprzez metodę porównawczą omówiono dekorację kaplicy w kontekście zagadnień malarstwa kwadraturowego rozwijającego się we Włoszech, a następnie w Europie Środkowej, zwłaszcza pod koniec XVII i w I połowie XVIII wieku. Ważną rolę w tym zakresie odegrał Andrea Pozzo (1642-1709) oraz artyści, którzy z Italii pochodzili bądź też tam studiowali malarstwo, jak Maciej Jan Meyer. Wskazano pierwowzór dla dekoracji kopuły kaplicy, którym są freski z lat 1664-1665 Pietra Berrettinieo da Cortony w kopule Santa Maria in Valicella w Rzymie, a także dla medalionów z popiersiami świętych wzorowanych na strukturze ołtarza głównego z lat 1699–1700 w kościele Krzyża Świętego w Warszawie, ufundowanego przez pierwszego mecenasa Meyera biskupa Teodora Potockiego, prymasa Polski.

The Bishop of Warmia, Krzysztof Andrzej Jan Szembek from Słupów (1680– 1740), erected a domed reliquary chapel devoted to the Most Holy Savior and St. Theodore the Martyr (Saint Theodore of Amasea) at the cathedral in Frombork, also known as Szembek Chapel. The entire interior of the chapel is covered with frescoes dating from around 1735 by Maciej Jan Meyer (Matthias Johann Meyer) from Lidzbark Warmiński. Educated in Italy, the artist made polychrome decorations in the style of illusionistic architectural painting known as quadrature. In the lower part of the chapel stand busts of saints and the entire figure of St. Theodore of Amasea; in the cupola of the dome is the adoration of the Holy Trinity and the Holy Cross by the Mother of God and the Saints. Using the comparative method, I discuss the decoration of the chapel in the context of quadrature painting, which was developing in Italy and then in Central Europe, especially at the end of the 17th and the first half of the 18th centuries. Influential artists who played an important role for Polish quadratura techniques were Andrea Pozzo (1642–1709) and painters who came from Italy or studied painting there, such as Maciej Jan Meyer. I also show the prototype for the decoration of the chapel’s dome, namely, the frescoes from 1664–1665 by Pietro Berrettini da Cortona in the dome of Santa Maria in Valicella in Rome, as well as for medallions with busts of saints modeled on the structure of the main altar from 1699–1700 in the Church of the Holy Cross in Warsaw, funded by Meyer’s first patron, Bishop Teodor Potocki, primate of Poland.

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1 Ochrona Zabytków

1 Perspektywy Kultury

1 Jankowski A.

1 Tracz S.

1 2020

1 1998

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Jubileuszowy rok konserwatorstwa polskiego : uwagi o znaczeniu powojennych odkryć późnogotyckich malowideł ściennych na Śląsku

Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork