Results found: 2

Search results

Search:
in the keywords: Szymon Czechowicz

Sort By:

Limit search:

Na temat malarskiej dekoracji w Łazienkowskiej Wielkiej Oranżerii

100%

Kwiatkowska M.

Biuletyn Historii Sztuki

2013

vol. 75

issue 2

311-325

The Print Cabinet of the Warsaw University Library has several charts with designs of the painted decoration of the elongated interior of the Orangery. In 1961, Marek Kwiatkowski decided that the designs had been made in 1786 by the architect Jan Christian Kamzetzer and that they were meant for the Orangery rooms, today referred to as the Old Orangery found in the Łazienki Park. The Author of the article provided information that the paintings in the Łazienki Orangery Hall may have been executed in 1788 by Wawrzyniec-Laurenty Jasieński, a student of Szymon Czechowicz. In 2012, traces of the old polychrome were discovered on the western wall from the side least of the escarpment, affected by sunshine. They were conserved the following year to bear testimony to Kamsetzer’s and Jasieński’s work.

Uwagi na temat pierwowzorów dzieł Szymona Czechowicza i malarzy jego kręgu

58%

Michalczyk Z.

Biuletyn Historii Sztuki

2013

vol. 75

issue 4

697-773

During the entire period of his activities in the Polish territories, Szymon Czechowicz applied graphic models. The unique character of this approach, arguably stemming from the quality of education he had acquired when in Rome, boiled down to the consistency in his choice of prints, the majority of which he may have brought with him from Rome. As for the choice of compositions for copying and adaptation, Carlo Maratta provided the most important examples. Subsequently, the following Roman artists of the 17 th and early 18 th century should be named: Sebastiano Conca, Niccolò Berrettoni, Pier Leone Ghezzi, Pietro da Cortona, Giovanni Lanfranco, Pietro Nelli, Benedetto Luti, Mario Balassi. Among the presented paintings whose compositions are either literal or minimally modified repetitions of other artists’ solutions, there are hardly any high-quality works: monumental paintings, meant to form part of the high altar. Instead, what dominate are smaller-sized canvases placed in side-altars, crowning the high altar, in the backrests of the choir stalls, as well as a relatively small devotional painting; finally, paintings created with a significant if not dominant, contribution of the studio.

Refine search results

2 Biuletyn Historii Sztuki

2 2013

1 Kwiatkowska M.

1 Michalczyk Z.

Search results

Na temat malarskiej dekoracji w Łazienkowskiej Wielkiej Oranżerii

Uwagi na temat pierwowzorów dzieł Szymona Czechowicza i malarzy jego kręgu