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Stalle z kościoła klasztornego w Lubiążu

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Nowak R.

Ochrona Zabytków

1984

issue 3

194-198

Made by Maciej S te inl in 1672—1682, an g e ls’ sta lls from L u b ią ż w e re ev a cu a ted to Lu b omierz d u rin g th e war. Hence, in 1947, one p a r t of d eco ratio n s w as moved to Rogalin an d th e o th e r p a r t was tra n sp o rte d to a m u seum sto reh o u se in Warsaw. Some of th e d e ta ils w hich h ad been le ft a t Lu b ią ż w e re b ro u g h t to th e Silesian Museum in Wroclaw, be in g ju s t th e n e stab lish ed . S cu lp tu re s from Rogalin w e re fir s t ta k e n o ver by th e N a tion a l Museum in P o zn ań a n d th e n in 1970 th e y we re passed on to Wrocław Museum. Th e rem a in in g d e ta ils (in th e m a jo rity fig u ra tiv e ones) w hich w e re in Warsaw w e re p re s en ted in 1952 to St. M a r tin ’s C h u rch in Stężyca (Lublin voivodship). Because of such p ro c ed u re th is valu ab le object of a r t was ta k e n to pieces an d got th u s dispersed. On sev e ra l occasions th e N a tio n a l Museum in Wrocław has mad e a ttem p ts to in te g ra te th e sta lls w hich a re of g re a t significance to th e h is to ry of B a ro que scu lp tu re in Silesia. On th re e occasions, i.e. in 1964 a n d in 1970 a t p e rm a n en t ex h ib itio n s k n ow n a s „Silesian Modern A rt” an d in 1969 a t th e e x h ib itio n of „the Silesian Baroque A rt of 1650—1770” th e re co n s tru c tio n of th e seats was made in o rd e r to pro v e th a t in te g ra tio n of th e sta lls was possible an d th a t th e most o u tstan d in g wo rk of Silesian s cu lp tu re could be re s to re d to this sp h e re of social life w hich is k n ow n as cu ltu ra l p ro p e rty .

Maria Zwycięska na śląskich kolumnach maryjnych – geneza przedstawienia.

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Nowak R.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

2012

issue 4(26)

59-69

Among Silesian Baroque free-standing Marian monuments the presentations with Mary trampling a serpent which is entwining the globe, and the carried by her Infant Jesus piercing the serpent’s head with a cross arm long as a spear, draw a special attention. It is a motif of so called Victorious God’s Mother. It appears in Silesia very rarely and relatively late: in Duszniki (1725), Otmuchów (1734), Jawiszów (1741) and in the Wrocław district of Leśnica (1743). This type of presentation started to function in art most certainly following Pope Alexander VII’s bull of 1661, which legitimised the cult of the Immaculate Conception. A particular and exceptional kind of an image of Mary Immaculate, which referred evidently to Counter-Reformation presentations of Archangel Michael defeating the dragon, was created by a painter Carlo Maratta. In 1663 the artist painted an altar picture for the Our Lady Immaculate Conception chapel in St. Isidore Church of Irish Franciscan Friars in Rome. The small chapel was designed by Gianlorenzo Bernini and erected in the years 1661–1663 from the initiative of Alfonso Manzanedo de Quinõnes as a grave chapel of Portuguese noblemen Roderigo Lopez da Sylva and his wife Beatriz and Francesco Nicolò da Sylva, and his wife Juana. Taking the outstanding authors of the chapel decoration into consideration and thanks to Maratta’s own copperplate version of the painting of Our Lady Victorious, executed in 1665, this image was often copied throughout the whole period of Baroque.

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1 Ochrona Zabytków

1 Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

2 Nowak R.

1 2012

1 1984

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Stalle z kościoła klasztornego w Lubiążu

Maria Zwycięska na śląskich kolumnach maryjnych – geneza przedstawienia.