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1
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Wieś Bartne w powiecie gorlickim1 – konserwatorska klęska bez happy endu

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Laskowski A.
Ochrona Zabytków
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2014
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issue 1
89-118
EN
The article is devoted to a Lemko village of Bartne situated in the Low Beskids, in the valley of Bartnianka stream, between the mountain ranges covered with forest. The village has a layout characteristic for the so-called forest village, in which a road running along a stream constitutes the main axis, and there are dirt roads perpendicular to it. Bartne was founded in the 16th century on the basis of the Wallachian rights. A family of a well-known composer Dmitry Bortniansky, the court composer of Tsarina Catherine the Great, came from here and an eulogist of Lemkivshchyna, novelist Wladimir Ignatiewicz Chiljak lived here for many years. The village became famous for local stonecutters whose manufacture (roadside shrines, cemetery tombstones, handmills) was recognised in the vicinity and beyond. Among the village buildings dominate two sacral ones: the older Greek-Catholic church and the Orthodox church established in the inter-war period. The cemeteries are also important: a parish cemetery, a choleric cemetery (from the 19th c.) and a war cemetery (from World War I). The inhabitants of the village lived in houses typical of Lemkos, the so-called chyża, where both the residential and the farming part were under one roof. A chyża was accompanied by separate granaries, cellars or other outhouses (forge, cart house, etc.). Fortunately, the buildings in the village survived the operation “Vistula” which was carried out by the Communists after World War II and consisted in forced resettlement of the local population to completely culturally unfamiliar northern areas of Poland. The political thaw after the Stalin’s death allowed the return of the displaced people to their homeland and resettle the surviving farms. Bartne, which was noticed by the conservation services in the 1960s, soon became the object of thorough studies carried out by a team of researchers from Kraków under the direction of Marian Kornecki, the leading researcher of wooden architecture in Poland. In the paper that crowned the fieldwork, completed in 1978, the team postulated the entry of the village layout and its buildings, as well as the most valuable individual farmhouses, to the register of historic monuments. In the same year the relevant inscriptions were made, and Bartne was recognised as an urban and architectural reserve. According to the assumptions proposed by M. Kornecki’s team, the village was supposed to have three protection zones: 1) a strict reserve, 2) an intensified protection zone, 3) a general protection zone. Today, 35 years after the foundation of the reserve, Bartne has transformed from a typical Lemko village into a model example of a devastated cultural landscape where the still untouched nature is accompanied by a small number of preserved wooden houses as well as stone and wooden granaries, but is dominated by brick buildings that are chaotic in their layout and aggressive in their form and colours, and ignore the harmony between the human creation and the nature’s one. Conservation services suffered a spectacular defeat in Bartne. Despite the recognition of the village as a reserve – the area subject to particular protection by definition – it lost within one generation most of those values which played a decisive role when it was granted the special status in 1978. There are many reasons that caused such situation: exclusion of the local population from the process of establishing the reserve, which made them hostile to the whole idea, withdrawal of people capable of executing the initial vision, abandonment of comprehensive and coordinated protective measures, inability to initiate a dialogue with the owners of historic buildings, lack of funds for specialized repairs. In today’s Bartne only a few enclaves of historic wooden buildings and individual historic objects have been preserved, overwhelmed by new, in general ugly, brick buildings, which do not constitute a cohesive and harmonious layout anymore. The reserve de facto stopped existing. At the moment, you can only protect humble remains that have been disappearing in the recent years at an alarming pace anyway. However, a radical change of approach by conservation services and local population, an idea for proper implementation of protective measures and their management as well as a more flexible model of financing are necessary, which could be achieved with the changes in the system of monuments protection in Poland proposed in the article.
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Między folwarkiem a szybem Ziemianie galicyjscy a nafta na przykładzie Jasła i powiatu jasielskiego

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Laskowski A., Uniwersytet Ekonomiczny w Krakowie
Studia z Historii Społeczno-Gospodarczej XIX i XX Wieku
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2010
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vol. 08
EN
Surroundings of Jasło – provincial town situated in a half way between two political and cultural centers of Galicia: Kraków and Lwów – become in the fifties of the 19th century the cradle of oil industry. The first oil mine and – above all – the first industrial oil distiller in the world started to work just very close to it. Together with a growth of oil mining in the region Jasło itself become before 1900 an unofficial capital of Galician oil industry. A prosperity of the town was very close connected to rock oil exploration executed by the owners of the grounds situated in the neighborhood, in fact most of all the local gentry. Its traditional way of economic existence, based on the agriculture, had to be faced with a brand new way of thinking, characteristic for the industrial development. In this confrontation a local gentry appeared a class brave enough to be strongly engaged into the industrial process and – in the same way – very faithful (but not conservative) in its attitude to farming. Even the most successful noblemen in the field of oil industry did not give up with it and still treated it as a field of fruitful competition between each other.
3
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Galician architecture in the period of autonomy. Side-notes on the book about the Architecture of Rzeszów

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Laskowski A.
Modus. Prace z historii sztuki
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2001
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vol. 2
123-180
EN
The point of departure for the author is a book by Barbara Tondos entitled 'Architektura Rzeszowa w okresie autonomii galicyjskiej' (The Architecture of Rzeszów in the Period of Galician Autonomy) published in 1997. In author's view the conservative burghers of Rzeszów did not have high demands, especially with regard to the aesthetic aspect of the commissioned works. The wooden architecture was fairly slowly replaced by brick buildings. The town started to change its image in a more definite manner when the architects of a more individualised artistic approach appeared in Rzeszów but the cultural revival made a very slow progress.It is in fact in the 1880s only that the former stagnation began to be overcome in the Galician province. Initially, next to the numerous wooden buildings, the dominant elements were the designs which stylistically related to Classicism popular in Rzeszów in the previous period, or the realisations which had stemmed from the concepts of Durand. Relatively late, around the year 1880, the projects kept in the 'Rundbogenstil' manner appeared. With time, the dominating role was assumed by Neo-Renaissance, which is clearly visible in the town till today. This trend must have matched the taste of the conservative burghers, since other stylistic tendencies are represented in Rzeszów relatively seldom. Among the rare cases are the Neo-Baroque, Neo-Mannerist and Neo-Gothic constructions. Art nouveau, which usually involved covering the traditional scheme of the facade with a rich decoration kept in the style of Historicism and art nouveau, was implemented in Rzeszów with relative difficulty. Dominant became buildings with plastered facades. Occasionally, houses with unplastered fronts and without redundant decorations were erected. It seems that Rzeszów did not manifest social acceptance for excessive decorations and the fanciful ornaments. It was determined not so much by the lack of financial means, but by the sentiment for the local tradition which demanded that the architects keep moderation and restraint.
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THE NO LONGER EXISTING FRANCISCAN CHURCH IN JASLO AND ITS DESIGNER MICHAL LUZECKI. A CONTRIBUTION TO HIS BIOGRAPHY (Nieistniejacy kosciol franciszkanow w Jasle i jego tworca Michal Luzecki. Przyczynek do biografii)

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Laskowski A.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2011
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vol. 4
20-43
EN
The neo-Gothic Franciscan church in Jaslo was built between 1903 and 1904 to the design of Michal Luzecki, a Lviv architect, who also designed several neo-Gothic elements in the interior. It was the only sacred structure outside Lviv designed by the architect. Almost completely destroyed in WWII, it was a modest neo-Gothic church, consisting of a tower, a nave, and a chancel enclosed on three sides; there was no transept. Churches of this type were popular in Germany, and some examples are to be found in Poland as well. Studies suggest that Michal Luzecki was an architect of his times, straddling historicism and modernism. His knowledge and inventiveness allowed him to draw from a variety of neo-stylistic forms; his creative output includes designs inspired by the Middle Ages (the neo-Gothic church in Jaslo) and modern architecture (the neo-baroque Blessed Virgin Fountain in Lviv), as well as free interpretations of historical forms, in which a stylistic costume is used to serve a modern function (e.g. the water tower at the Eastern Trade Fair in Lviv). Luzecki was equally skilful in the use of various materials, such as stone, brick and wood (e.g. the celebrated Hunting Pavillion at the Fair). He did not shy from conservation tasks. Deep down, however, he was an artist on a constant quest for new means of expression, conscious of the impending artistic breakthrough; the designs and projects he undertook in the 20th century were already influenced by the spirit of art nouveau. Throughout his life, Luzecki enjoyed widespread esteem and authority, first as an employee and later as the director of the Urban Construction Office in Lviv, and a jury member in numerous architecture contests.
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