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

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Szybisty T.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2008

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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.

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Granica życia i śmierci. Motyw kryształowej tafli w opowiadaniu E.T.A. Hoffmanna "Kopalnie w Falun"

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Szybisty T.

Załącznik Kulturoznawczy

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2019

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issue 6. Design. Teoria, praktyka, interpretacje

339-353

EN

The article seeks to analyse the symbolic significance of the crystalline membrane featured in Elis Fröbom’s dream; he is the main character of E.T.A. Hoffmann’s short story entitled The Mines of Falun. There prevails extensive consensus in the critical literature, that the dreamy landscape of the cave externalises the deepest layers of Elis’ psyche; in addition, this scene presents a key to the understanding of the whole story. The application of hermeneutical close reading and the augmentation of this analysis through invoking the vintage symbolic that accreted around the notion and image of crystal in the literature, philosophy and the science of the Romanticism era warrant the postulation of a thesis, that the mute queen appearing in the aforementioned intriguing vision can be construed as a corporeal symbolisation of death, deeply yearned for by the main character. As far as the crystalline membrane partitioning the cave into two realms is concerned, we may hazard a surmise that it functions as a peculiar delineation of life, the frontier where the inorganic world transitions into its organic extension.

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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)

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Szybisty T.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2010

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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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2 Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

1 Załącznik Kulturoznawczy

3 Szybisty T.

1 2019

1 2010

1 2008

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

Granica życia i śmierci. Motyw kryształowej tafli w opowiadaniu E.T.A. Hoffmanna "Kopalnie w Falun"

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)