Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Wystrój rzeźbiarski kaplicy św. Marii Magdaleny przy kościele Wniebowzięcia NMP i św. Jana Chrzciciela w Henrykowie oraz jego twórca August Leopold Jäschke

100%
Kolbiarz A.
Biuletyn Historii Sztuki
|
2020
|
vol. 82
|
issue 4
559-599
EN
The raising and furbishing of the Chapel of St Mary Magdalene at the Cistercian Church in Henryków formed part of the last artistic offensive of the Catholic Church in Lower Silesia in the modern times, actually conducted after the region had been incorporated into the Kingdom of Prussia. It was also one of the major artistic projects implemented in the mid-18th century by the Henryków Abbot Candidus Rieger. The preserved archival records allow to reconstruct the division of works on the project. Bricklaying, masonry, and carpentry were conducted mainly by local craftsmen. However, the remaining tasks were commissioned from Wrocław masters. The painterly decoration was executed by Johann Heinrich Kynast, the stuccoes by Dominicus Merck, while the altar and woodcarving by August Leopold Jäschke (ca. 1709–1787). Little identified in literature so-far, the sculptor was active for over five decades on the Sand Island, having a major impact on shaping the local Rococo fine arts. Educated most likely in the excellent atelier of Franz Joseph Mangoldt, Jäschke imitated his supposed master not only in figurative sculpture, but also in so-called ‘minor architectural elements’. He compensated for his mediocre skill at shaping figures by applying fashionable architectural concepts and extensive ornamentation. Jäschke’s professional activity, territorially covering Upper and Lower Silesia, as well as the borderline of Greater Poland, constitutes an excellent touchstone of the output of the Wrocław artistic circles of the time of Rococo.
PL
Wzniesienie oraz wyposażenie kaplicy św. Marii Magdaleny przy kościele cysterskim w Henrykowie wpisało się w ramy ostatniej ofensywy artystycznej Kościoła katolickiego na Dolnym Śląsku w czasach nowożytnych, przeprowadzonej już po włączeniu regionu do Królestwa Prus. Należało także do największych przedsięwzięć artystycznych, podjętych po połowie XVIII w. przez henrykowskiego opata Candidusa Riegera. Zachowane archiwalia pozwalają zrekonstruować podział prac przy tej realizacji. Prace murarskie, kamieniarskie i stolarskie przeprowadzone zostały w większości siłami miejscowych rzemieślników. Za pozostałe odpowiedzialni byli wrocławscy mistrzowie. Dekoracje malarskie wykonał Johann Heinrich Kynast, stiukowe Dominicus Merck, zaś ołtarz oraz elementy snycerskie nagrobka Piastów ziębickich: Bolka II i Jutty wyszły spod dłuta Augusta Leopolda Jäschkego (ok. 1709–1787). Słabo dotąd rozpoznany w literaturze rzeźbiarz funkcjonował przez ponad pięć dekad na terenie Wyspy Piaskowej, wywierając znaczący wpływ na ukształtowanie miejscowej plastyki rokokowej. Jäschke, wykształcony prawdopodobnie w znakomitym atelier Franza Josepha Mangoldta, naśladował swojego domniemanego mistrza nie tylko w rzeźbie figuralnej, ale również w tzw. małej architekturze. Przeciętne umiejętności kształtowania figur rekompensował stosowaniem modnych konceptów architektonicznych oraz rozbudowanej ornamentyki. Aktywność zawodowa Jäschkego, obejmująca terytorialnie Dolny i Górny Śląsk oraz pogranicze Wielkopolski, stanowi znakomity probierz produkcji wrocławskiego środowiska artystycznego czasów rokoka.
2
Publication available in full text mode
Content available

Geneza oraz ewolucja ołtarza ramowego na Śląsku i w twórczości artystów związanych z ośrodkiem artystycznym w Bardzie

100%
Kolbiarz A.
TECHNE. Seria Nowa
|
2018
|
issue 1
177-204
EN
Over 30 years ago, Tadeusz Chrzanowski pointed to numerous frame-type altars in the area around the Silesian city of Bardo, recognising them as typical of the region. Although frame-type retabula were also popular in the rest of Silesia, the number of such works in the Duchy of Ziębice is de facto very high. On many occasions, authors of such reredoses were creators connected with the artistic centre in the city of Bardo, which was somewhat of a peculiarity. It was a small, borderland settlement located next to the main tract connecting Wrocław and Kłodzko, and concentrated around a pilgrimaging church which belonged to the Cistercians from Kamieniec Ząbkowicki. Throughout the 18th century, it was home to numerous artists, mainly sculptors, but also carpenters, stonemasons and staffage painters, whose exceptionally intense activity allowed the Bardo workshops to dominate the artistic market in the Duchy of Ziębice, following a simultaneous weakening of the nearby sculpturing centres in Wrocław, Świdnica and Kłodzko. What is more, the workshops in Bardo clearly marked their presence in the ecclesiastical Duchy of Nysa, the County of Kłodzko and in the Wrocław area, sporadically operating also in Broumovsko, and Upper and Opavskie Silesia. The most predominant role in the Bardocentre was played by Andreas Ludwig Jaschke, who remained professionally active for over 50 years, and by the representatives of the artistic Hartmann dynasty: Johann Heinrich (who also enjoyed a long and professionally active life) and his sons Johann Nepomucene and Joseph. The peak of their artistic output can approximately be dated to the period between 1740 and 1790. The Bardo-based artists worked for such locally prominent patrons of the arts as the abbots of the Cistercian convents from Kamieniec Ząbkowicki and Henrykow, the Jesuits from Kłodzko and Nysa, the canons from Wrocław,and the Benedictines from Broumovsko. For a long time, the central altar in the pilgrimaging church in Silesian Bardo (1715) or the retabulum in the post-Jesuit church in Nysa (1691) were perceived as the archetype of the frame-type reredos in Silesia. It was Ryszard Hołownia who revolutionised the status of the research, pointing to the non-existent high altar of the Church of St. Jacob in Nysa (1677-1679), erected thanks to the endeavours of Cardinal Friedrich von Hessen-Darmstadt. This mysterious work was so innovative that similar forms and designs would not be seen in Silesia and the whole of Central Europe until a few decades later. Equally surprising was the lack of imitation of the Nysa retabulum in the art of the region. Silesian frame-type altars began to appear in greater numbers after 1700, combining the experience of the transalpine art (acanthus epitaphs and retabula) with dramatizing motifs derived from Italy (angels carrying the altar painting). Initially, their appearance varied and depended on individual artistic conceptions. It was the artists gathered around the monastic workshop in Lubiąż who contributed to the development of a full-scale programme of a frame-type retabulum. At first, under the guidance of Matthias Steinl, they introduced acanthus altars in the region. And then, they popularised the motif of angelic statues carrying the painting, possibly under the guidance of Michael Lichtner, as mentioned in the archives. An early example of a frame-type altar in Silesia is the reredos within the Church of Corpus Christi in Wrocław (1699), authored by Sulpicius Gode. In the Duchy of Ziębice, frame-type reredoses were present in the works by artists directly preceding the heyday of the Bardo centre: Leopold Strauss, Anton Jorg and Georg Schenck. Archival materials indicate that Strauss made the high altar of the pilgrimaging church in Bardo(1714-1715 and 1720-1721). After his death and the emigration of the others, the leading role in the region was taken by artists working in Bardo, who eagerly applied the frame-typealtar. They already used more standardised and unified forms, inspired by the art of the Archduchy of Austria in the first half of the 18th century (and, above all, the works by Johann Lukas von Hildebrandt and Antonio Beduzzi). Another common practice they applied was the expansion of altar pedestal areas by adding gates. One may even venture to state that the increased popularity of frame-type reredoses in the region of Kamieniec Ząbkowickistemmed from the high status of the altar in Bardo, which constituted a frame for the venerated statue of Mother of God.
3
Publication available in full text mode
Content available

Ambony typu lubiąskiego i lubiąsko-głogowskiego w sztuce barokowej Śląska oraz Wielkopolski. Geneza, ewolucja i migracja form.

100%
Kolbiarz A.
Liturgia Sacra. Liturgia - Musica - Ars
|
2020
|
vol. 56
|
issue 2
301-334
4
Publication available in full text mode
Content available

Rzeźbiarze i stolarze pracujący dla opactwa cysterskiego w Krzeszowie w 2. połowie XVII i na początku XVIII wieku. Mit przyklasztornego warsztatu Georga Schröttera

100%
Kolbiarz A.
Biuletyn Historii Sztuki
|
2023
|
vol. 85
|
issue 3
83-108
EN
Artistic projects created within the framework of the Cistercian patronage in Krzeszów are among the most important achievements in Baroque architecture and sculpture in Silesia. The current article attempts to thoroughly verify the existing knowledge regarding the modernisation of the furnishings and decoration of the medieval abbey church in Krzeszów, carried out in the second half of the 17th and the early 18th century, and to consider the guild practices of the sculptors and carpenters working for the Cistercians at that time. On the basis of archival sources and early printed materials, the author concluded, contrary to previous findings, that the craftsmen working in Krzeszów were not employed in one workshop under the management of the sculptor Georg Schrötter, but in separate workshops cooperating with each other – a fact that may have an impact on the issues of attribution and dating of the activity of individual groups of artists. Schrötter produced only the figural sculptures, while the altars and other furnishings together with their ornamentation were designed and made by the woodcarvers Stephan Kose and Christoph Hoffmann. In addition, Hoffmann did not start working for the Krzeszów abbey after Kose’s death in 1698, as hitherto thought, but had been employed there since the mid-1670s.
PL
Realizacje artystyczne powstałe w ramach mecenatu cystersów w Krzeszowie zaliczane są do najważniejszych osiągnięć architektury i plastyki barokowej na Śląsku. Niniejszy artykuł stanowi próbę gruntownej weryfikacji dotychczasowej wiedzy na temat modernizacji wyposażenia i wystroju średniowiecznej świątyni opackiej w Krzeszowie, przeprowadzonej w 2. połowie XVII i na początku XVIII w., oraz namysłu nad praktykami cechowymi rzeźbiarzy i stolarzy pracujących w tym czasie dla cystersów. Na podstawie źródeł archiwalnych i starodruków autor artykułu stwierdził, wbrew dotychczasowym ustaleniom, że rzemieślnicy czynni w Krzeszowie nie pracowali w jednej pracowni kierowanej przez rzeźbiarza Georga Schröttera, ale w osobnych współpracujących ze sobą warsztatach, co może mieć wpływ na kwestie atrybucji oraz datowania aktywności poszczególnych grup artystów. Schrötter był jedynie wykonawcą rzeźby figuralnej, natomiast ołtarze i inne sprzęty wraz z ornamentyką projektowali i realizowali stolarze: Stephan Kose oraz Christoph Hoffmann, który nie rozpoczął współpracy z opactwem krzeszowskim po śmierci Kosego w 1698 r., jak dotychczas sądzono, lecz już w połowie lat 70. XVII w. 
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.