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Obraz Matki Boskiej z Dzieciątkiem z kościoła pw. św. Klemensa w Trzemeśni – dzieło szkoły praskiej z około 1600 roku. Uwagi konserwatora

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Nowalińska M., Sękowska A.

Ochrona Zabytków

2012

issue 3-4

43-52

The painting Matka Boska z Dzieciątkiem (Madonna with Child), called Matka Boska Pocieszenia (Our Lady of Consolation) (fig. 1) until now attributed to the Netherlandish School, dated to the end of the 16th century. Renovation of the painting – performed in 2010/2011 – was a unique opportunity to “discover” the masterpiece, to verify its attribution and dating. Conservation works comprised technical and aesthetical renovation: dismantling the metal applications, removal of overpaints, completing lost paint covers (fig. 2, 4-9). Analyses performed enabled to draw the conclusion that originally the painting was not the panel-type, as it had been painted on canvas. The representation was probably framed with a painted, round-shaped framing, its corners adorned with tulips (pic. 15 depicts the attempted computer recreation of the original image). During one of the previous renovations (possibly in the 1960s) the picture of Matka Boska z Dzieciątkiem (Madonna with Child) was cut out of the canvas-based easel painting “along the shape” and subsequently adhered to wooden base. The cut out upper part of the composition was complemented with adhesive/chalky mortar, in which the floral ornament was engraved and gilded. Then the painting was repainted, as a result the original robes of the figures were covered, and painted crowns added to them. The high class of the original painting was fully appreciated, once the overpaints were removed. The characteristic physiognomic features of Madonna’s face (shape of eyes, lifted corners of the mouth, high protruding forehead, shape of leaning head, hands with extended fingers) enable to certify the association of the painting with the Prague school, ca 1600 (fig. 10a-10e, 11, 12). Perhaps Matka Boska z Dzieciątkiem is a work from the circle of Matthäus Gundelach. The preserved two of the original four double-flower tulips in the corners of the painting, point to the use of Mannerist drawings and the influence of Netherlandish art, that compose the special features of the Prague school of the early 17th century.

Odbudowa i przebudowa kościoła parafialnego św. Klemensa w Wieliczce w X IX w. i wkład finansowy Saliny w jego restaurację

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Rzepka L.

Folia Historica Cracoviensia

1999

vol. 6

From the 15th century the parish provided pastoral care for miners from the Wieliczka salt mine, in exchange for which the mine board paid salt fees (since ca. 1703 in cash) to the provost and was obliged to participate in the church's upkeep costs. In 1772 the obligations were taken over by the Austrian administrators of the Wieliczka mine, hence the participation of the Salt Mine Board in the costs of reconstructing the church following the destruction caused by the subterranean tremor in the 1780s.

Od XIV w. parafia obejmowała opieką duszpasterską górników żupy wielickiej, w zamian za co zarząd żupy wypłacał pensje solne (od ok. 1703 r. pieniężne) proboszczowi i zobowiązany był współuczestniczyć w kosztach utrzymania kościoła. Zobowiązania te zostały w 1772 roku przejęte przez austriacką administrację saliny wielickiej, stąd też Zarząd Salinarny partycypował w kosztach odbudowy kościoła po zniszczeniach, spowodowanych w latach osiemdziesiątych XVIII w., wstrząsami podziemnymi.

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1 Folia Historica Cracoviensia

1 Ochrona Zabytków

1 Nowalińska M.

1 Rzepka L.

1 Sękowska A.

1 2012

1 1999

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Obraz Matki Boskiej z Dzieciątkiem z kościoła pw. św. Klemensa w Trzemeśni – dzieło szkoły praskiej z około 1600 roku. Uwagi konserwatora

Odbudowa i przebudowa kościoła parafialnego św. Klemensa w Wieliczce w X IX w. i wkład finansowy Saliny w jego restaurację