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Raport polityczny za drugą połowę sierpnia 1944 r. z terenu Obwodu Augustowskiego Armii Krajowej

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Kossowski M. D.
Dzieje Najnowsze
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2015
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vol. 47
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issue 1
227-232
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„Ekstaza” czy „admiracja”? Ikonografia obrazu św. Franciszka z Muzeum Diecezjalnego w Siedlcach w kontekście wymowy wybranych płócien z serii franciszkańskiej El Greca

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Kossowski M. D.
Studia Europaea Gnesnensia
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2021
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issue 23
47-66
EN
The widely adopted title of “Ecstasy of St Francis”, a painting at the Diocesan Museum in Siedlce, was introduced in literature in 1966 based on the typology developed by José Gudiol. The designa- tion continues to be used until today. However, the significance and the purport of the title has not been confronted with the representation, especially given the current knowledge about its details. No attention has been paid so far to the nature of the stigmata, nor have any conclusions been drawn from the arrangement of the fingers or the depiction of bone remains, their pattern and placement. An analysis of those motifs changes the previous interpretation of what the work seeks to convey. The paper also cites arguments in favour of amending the current dating, from 1578-80 to the early seventeenth century.
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36 x Rembrandt – wystawa na Zamku Królewskim w Warszawie w świetle wybranych ekspozycji rocznicowych

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Kossowski M. D.
Studia Europaea Gnesnensia
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2021
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issue 23
139-153
EN
In autumn 2019, the Royal Castle in Warsaw saw the exhibition associated with the Year of Rembrandt(Rembrandt-jaar) which celebrated the 350th anniversary of death of the Dutch painter. The publicity and promotion were well conceived and successful. The eloquent banner over the entrance featuring a section of Rembrandt’s portrait and the caption “36 x REMBRANDT” appealed to the imagination. The audience expected to see a substantial number of standalone masterpieces, but it turned out that the advertised pieces are chiefly prints along with two portraits from the permanent display. No efforts were made to have at least two high-quality works by Rembrandt brought from abroad, sourcing them instead from domestic collections only. Still, even those artefacts were not duly displayed to their best effect, which is saddening given the noble venue. The review discusses the assets and the shortcomings of the show, in order to acquaint museum professionals with the expectations of the viewers.
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Orzeł ukoronowany na denarze Bolesława Chrobrego z legendą "PRINCES POLONIE" - analiza motywu

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Kossowski M. D.
Slavia Antiqua: rocznik poświęcony starożytnościom słowiańskim
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2007
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vol. 48
161-188
EN
The article treats of a detailed iconographic analysis of an avifaunal representation on the denarius of Boleslaw the Brave and a determination of the species to which the bird belongs, as well as the establishment what actually is crowning its head. On the basis of iconography of zoomorphic representations beginning with an archaic period, through a classical one, the antique Hellenistic and Roman period as well as early mediaeval, the hitherto concepts, defining the bird as a peacock, cock or a pigeon, have been abandoned. Analyzing the portrayals of birds, we acknowledge that on the denarius of Boleslaw the Brave there is a representation of an eagle, which can only be a species of a Golden Eagle or White-tailed Eagle. The examples of royal crowns of that time and the headgear of the bird betoken that the maker of the coin die imagined royal insignia on the eagle's head, the ones in the type of a four-cornered 'corona radiata'. Original article printed with German abstract.
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O portretach Rembrandta z Zamku Królewskiego w Warszawie – analiza przedstawienia a zdefiniowanie tematu i określenie sportretowanych osób

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Kossowski M. D.
Opuscula Musealia
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2018
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vol. 25
261-285
EN
The iconographic analysis of both portraits in the context of the adopted nomenclature and interpretation of the presentation, the recognition of the symbolic meaning and the anthropological type of portraits give the basis for clarifying the subject. The determination of racial affiliation attests the previous provenance. The formal features of the composition and the fact of the secondary cutting of the boards do not speak in favour of the pendant of both paintings. Other properties and conditions – much more important than the format of the canvas, the scale of figures and their mutual orientation – prove the connection between both portraits from the moment of their creation. They are the typological features of portrayed persons, the symbolic meaning of images and the context of their realisation. These disqualify the assignment of the portraits to the tronie type. The portraits are, therefore, a pair, although they were created separately. In the 17th century they belonged to John III Sobieski. They were part of the royal collection of paintings and decorated the king’s bedroom in Wilanów Palace. They were recorded in the General Inventory of 1696. In this inventory, the title of the male portrait – “portrait of a Portuguese rabbi” – draws attention. The anthropological analysis confirms that both portraits show representatives of Sephardic Jews. This group originally lived in Spain, Portugal and Morocco. They came to Poland in large numbers only in the 17th century. They differed physically from the Ashkenazi Jews who had arrived in Central Europe earlier. In 1696, he was accurately portrayed as the “Portuguese rabbi” because he presents features typical of the Sephardic population. The name given in the inventory from 1696 corresponded to the image identified in the portrait. It provides convincing evidence that John III Sobieski had both of the Rembrandt portraits in his collection. The man in a portrait is probably about 60 years old. The girl is probably 15–17 years old. Their filiation is obvious. Several similarities clearly indicate a close family relationship. The determined age difference of 45 years does not preclude paternity. Since both images were never separated, they can be described as the Sephardic Rabbi in the lectern and the Jewess in the beret (Rabbi’s daughter), which would consider the record tradition in the inventory from 1696 and would be a fairly close reference to the defined topic.
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Muzeum Polskie w Muri już nie istnieje

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Kossowski M. D.
Opuscula Musealia
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2018
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vol. 25
245-260
EN
Polish museology has suffered a severe loss. The Polish Museum in Muri, also known as the Museum for the Polish Struggle for Freedom, has ceased to exist. It was the second largest Polish museum in Switzerland after the museum at Rapperswil Castle. On 11 November 2017, the Hermann Historica GmbH antique shop from Munich conducted the 75th live auction of most of the artefacts collected by Zygmunt Stankiewicz at the castle in Muri (Katalog Hermann Historica 75. Auktion: Museum zum Freiheitskampf des polnischen Volkes – die Sammlung Z. Stankiewicz, 11. Nov. 2017, lot 4801–4977). About 600 items grouped into 177 listings were put up for sale. Among them, there was a portrait of John III Sobieski from about 1677, Polish weapons and arms from the 17th–18th centuries, including the sabre from the National Museum in Lvov, over 50 maps of Polish territories from the 16th–17th centuries, 3 plans and 6 former views of Polish cities, 60 historical graphics, several hundred coins and medals, several dozens of badges and decorations, uniforms and military equipment, as well as 3 standards. On the next day of the auction, 14 November, a further part of the collection was sold, including the mitra ornata donated to the founder of the museum by John Paul II (Katalog Hermann Historica 75. Auktion: Orden und militärhistorische Sammlungsstücke aus aller Welt, 11. & 14. & 15. Nov. 2017, lot 5725). Zygmunt Stankiewicz (1914–2010) took part in the defensive war in September 1939. Then he fought in the Polish Armed Forces in the West, in the 6th Border Infantry Rifle Regiment, part of the 2nd Rifle Division. Pushed together with the division to the Swiss border, he crossed it and was interned in the Helvetic Republic, where he remained permanently. After the war, he was the first director of the Polish Museum in Rapperswil. He founded the Polish Museum in 1955. He cumulated his collections by travelling around the world. He searched European antique shops and participated in auctions. He received numerous donations. He opened the museum on 3 May 1984. The collections included iconography, cartography, numismatics and medals, phaleristics and militaria, all historical memorabilia, including diplomas, photographs and archives. They were to illustrate the whole history of the nation and the Polish state from the adoption of Christianity in 966 until the emergence of the Solidarity movement. The 2017 auction led to the sale of the collections of the Polish Museum in Muri. This was against the will of the founder of the museum. Ethical doubts are aroused by the auctioning of those objects that Zygmunt Stankiewicz received as donations to enrich the museum’s collections, as a national treasury made available to the public, and not only a private collection. These included the portrait of Sobieski and the papal mitre, as well as uniforms and accoutrement of his friends from the war. The only optimistic effect of the rotation of the wheel of Fortune constituted the conviction that most of these objects returned to Poland.
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Refleksje o książce „Portret w dawnej Polsce”

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Kossowski M. D.
Studia Europaea Gnesnensia
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2024
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issue 26
289-310
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Alegoria szczęśliwego panowania pędzla Jana Reisnera z łazienki ogrodu włoskiego zamku w Żółkwi

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Kossowski M. D.
Studia Europaea Gnesnensia
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2024
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issue 26
203-226
EN
Jan Reisner’s painting from the castle in Żółkiew has been referred to on several occasions in art history literature, but the personifications depicted there were erroneously identified. In this paper, the author challenges the assertions made earlier. An iconographic analysis combines all elements of the composition into a coherent whole, thus revealing novel, hitherto unknown symbolism of the representation. The painting allegorically anticipated the state of affairs in the country after king Jan III’s return from the autumn campaign of 1684, while the choice of theme demonstrates the painter’s in-depth knowledge of antiquity, which he drew on when creating the work. Also, the allegorical import of the piece dictated where the painting would be exhibited, as the location was anything but insignificant. The painting was placed in the baths of the Italian garden of the king’s residence in Żółkiew, and hung in the middle room above the bed, as stated in the inventory of 1726, a fact established and reported for the first time in this study. These new findings have raised the cultural and artistic value of the work.  
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