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THE MYSTERIOUS KRAKOW MODEL AND THE ITALIAN DESIGNS BY BRONISLAW CHROMY (Tajemniczy model krakowski i wloskie projekty Bronislawa Chromego)

100%
Ryba G.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2010
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vol. 3
21-43
EN
Among the sculptures collected in the studio of Bronislaw Chromy (born in 1925), the Krakow sculptor who could be considered one of more interesting artistic personalities in the 20th-century Poland, there is a lead model of a sculpted double door topped with a full arch. According to Chromy it is an unrealized design of the gate for St Francis Church in Ravenna. In 1973 the artist won the first award at Biennale organized by Centro Dantesco in Ravenna. One of the competition jurors, Archbishop Giovanni Fallani, supposedly encouraged the then director of Centro Dantesco, Fr. Severino Ragazzini, to commission with Chromy a bronze door for the Franciscan Church which formed a part of the museum complex in Ravenna. Fallani also encouraged Chromy to take part in a closed competition for the gate to the Basilica of St Paul Outside the Walls in Rome. Both projects have never been realized, but the formal solutions of the artist's Italian projects were used by him in the bronze doors made by him for the churches in Nienadowka and Tarnow. The first one was made popular through the exhibition in Krakow in 1980 and Zofia Halota's film, in which it played the main role, symbolically opening and closing the narrative about the sculptor's work. In the 1980s the number of commissions for sculpted bronze doors in Poland started to increase rapidly, at least in the southern part of the country. It is probable that Chromy's work contributed to its popularity as an element of the church decoration, indirectly caused by his Italian inspiration and Ravenna experience.
2

Rawenna “Snem Malowana.” O kreacyjnych i onirogennych właściwościach miejsca

88%
Wydrycka A.
Białostockie Studia Literaturoznawcze
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2013
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vol. 4
303-317
EN
The article interprets lyric poems, the subject of which is the last capital of the Western Roman Empire, Ravenna. It was treated as a place serving to define identity (Bronisław Przyłuski’s poems), self-presentation (Lechoń’s lyrical poem), and particularly as w place of oneirogenic nature (poems of Lechoń, Różewicz and others). The number of Polish works connected with Ravenna demonstrates a perennial fascination with the city. Two threads recur in them: Dantean and that emphasizing the art of mosaic, reaching the heights of metaphysics.
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