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Stalle w Kalwarii Zebrzydowskiej w świetle odkryć dokonanych podczas ostatniej konserwacji

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Pytlarz E.
Ochrona Zabytków
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2013
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issue 1-4
61-74
EN
During the renovation of the stalls, situated in the choir of monastery church Our Lady of Angels, done in 2010 we have found several important things. The stalls, with many seats in 2 rows, were put along 3 walls of the choir. There were many times before mentioned in literature, but always dated after 1632 or even later. They consists of many parts made in different times, but the oldest and most interesting are backs of the seats: in the architectural shape with scenes from the life of Holy Mary in bas-relief, surrounded by strapwork ornament. When there were dismantled first time since end of XVII century, on the other side was found, written in sanguine, date: “1617 in Augusto” with signatures of – no doubts – authors. There were several names, sometimes hard to read: twice appeared name of Thomas Barwinek from Krakow; one, of which we know only origin “ from Sieciechow”, then “Tobias Pokorny”, “Alensa[kowicz?]” and others. Beneath, with a different writing character was found inscription: “1696 die 22 Mai”. The first inscription means the end of work on stalls, and it is exactly the same, as we can date basing on the strapwork ornament. Analysing 2 middle scenes we assume that they concern episode of St. Francis ’s life, exactly the moment when he asked for indulgence for pilgrims coming to pray at the church of Holy Mary of Angels, also called Porziuncula by Assisi. This choice of scenes, without anything common to the main subject, is probably connected with similar indulgence, that Franciscan church in Kalwaria obtained in 1612. It indicates, that they started to carve the stalls in 1612 or just after that date. Both scenes are also connected with the name of church – the same as by Assisi. The first of them, Adoration of Holy Mary with Jesus by St. Francis and Franciscan monks, has added later 3 carved coats of arms, connected with Michal Zebrzydowski – the youngest member of Zebrzydowski family – monastery founders. Maybe the seat beneath coats of arms was reserved to this family? During the renovation it was decided that backs of the stalls were made as a whole and nobody ever planned to paint them, apart from mussels, put over bas-reliefs, which were painted blue and gilt. The only added elements were small bas-reliefs, nailed over the primary decoration of frieze: blue panels with gilt sentence, which was part of primer prayer to St. Francis. They were made in the same style as the rest of decoration, so they are probably coming from the first baldachin, removed in 1696. In that time the church was enlarged and they made the new baldachin in a form of balcony with balustrade and wooden vases – similar to the new music choir. Both baldachin and balustrade were later on changed once again. The present balustrade, looking very primitively as a kind of naïf Baroque , was made during the church renovation in years 1793-1832. This renovation, done by father Tulinski, was much criticised later. Stalls were then renovated around half of XIX cent., when were made present lower benches, baldachin, columns and lectern. There were decorated with wooden inlays and veneer, the same as furniture in the sacristy, with date on them: 1859. The last elements were added after the monographic essay on Kalwaria, written by prof. Szablowski in 1933. There were carved quite primitively in pinewood. The last discovery reminds us names of authors. I also proves,that stalls are older than it was suspected. We estimate them as a very good example of early Dutch Mannerism style in Poland. Backboards, together with the oldest chapels of Kalwaria make evidence, how far to the south of Poland came influences of North European art. Maybe it was because of Paul Baudarth, chapels’ designer, who probably brought to woodcarvers some graphic patterns, or maybe made some sketches himself? Translated by Elżbieta Pytlarz
2

Lot z córkami - manierystyczny pejzaż Martena van Valckenborcha w zbiorach artystycznych Instytutu Historii Sztuki KUL

100%
Przylicki K.
Roczniki Humanistyczne
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2013
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vol. 61
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issue 4: Historia Sztuki
121-147
EN
The collection of ancient art at the John Paul II Catholic University of Lublin has some outstanding specimens of foreign painting, including the first-class painting by the Flemish artist Marten van Valckenborch (1534-1612), entitled A Flight with the Daughters (fig. 1-3) has a special place there. Painted on three oak planks, originally butted, it came to the CUL in three parts. After painstaking restoration works conducted in 1998-1999 in the Workshop of Painting and Sculpture Conservation of the Archdiocesan Museum of Religious Art in Lublin by Krzysztof Kawiak, the warped planks were straightened out in stocks and merged again. The painting was cleaned by removing secondary re-paintings and thick layers of darkened varnish, which resulted in revealing the painter’s authentic signature: MARTEN VAN / VALCKENBORCH / DEN AVDEN / FECIT 160[9?] in its left-hand bottom corner. The presented picture was painted after 1600, which is proven by the date placed in the signature; unfortunately, its last figure is illegible. It perfectly well became part of the final stage of Marten van Valckenborch’s work, called fantastic, that began around 1597. Intricately painted, dynamic mountain landscapes with religious scenes, as well as with blast-furnaces and blacksmith's shops, were the basic motifs in the works belonging to that period. Perhaps there would be nothing special in it, if not for the fact that up till then views of the mountains appeared only sporadically in Marten's painting. A change in artistic preferences of the author of our painting coincided with the death of his younger brother Lucas, in whose works this subject matter dominated for at least twenty years. Marten's style of the late period of his life has also distinct features of the work of his sons – Frederik (1566-1623) and Gillis (1570-1622), outstanding representatives of Netherlandish late Mannerism, who in the 1590s made a study trip to Italy, as well as of Tobias Verhaecht's (1561-1631) and Joos de Momper's (1564- painting. The pretext to show a vast mountain landscape in our painting was the final episode of the history of Lot described in Genesis (Gen. 19), when his daughters, convinced that „there is not a man in the earth”, „that night […] got him drunk with wine” (Gen 19,33) in order to be able to have sex with him. Among Marten van Valckenborch’s works River Valley with Iron Smelter from the Wichmann-Basner’s old collection in Sopot is the closest analogy to our painting; now it is kept at The Grohmann Museum Man at Work Collection at the Milwaukee School of Engineering (fig. 4). Especially a concurrence in composition and the use of similar chiaroscuro and color effects is clearly seen. Also a stone arcaded bridge is a common element in the two pictures. There are also blast-furnaces and blacksmith’s shops in our scene, albeit the artist put them in the background. The few paintings representing the final, fantastic stage that have been preserved are in private collections today. This situation makes it necessary to restore the painting from Lublin to the position it deserves and to arouse interest in it in broad circles of researchers.
3
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W szklanej kuli tradycji

85%
Woźniewska-Działak M.
Studia Norwidiana
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2020
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vol. 38
252-264
EN
The article is a review of Agata Seweryn’s book Between the Worlds. Studies in the Literature of the Enlightenment and Romanticism. The review’s author presents the composition of the book and examines the research problems raised in it in greater detail. She comments on the studies included in the publication as interesting suggestions for interpretive supplements of selected romantic poems and works. She draws attention to those aspects that reveal the richness inherent in the works, and not yet described enough. They are introduced by references to the Baroque tradition or reflection on normative poetics and rhetorics.
PL
Artykuł jest recenzją książki Agaty Seweryn Pomiędzy światami. Studia z literatury oświecenia i romantyzmu. Autorka omawia kompozycję książki oraz szczegółowiej przygląda się problemom badawczym w niej poruszonym. Zamieszczone w publikacji studia komentuje jako interesujące propozycje uzupełnień interpretacyjnych wybranych wierszy i dzieł romantycznych. Zwraca uwagę na te aspekty, które odsłaniają tkwiące w utworach a nie wystarczająco dotąd opisane bogactwo. Wprowadzają je odniesienia do tradycji barokowej i refleksja nad poetyką normatywną i retoryką.
4
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O (nie)przydatności cezury roku 1600 w historii muzyki

80%
Jeż T. M.
Prace Filologiczne. Literaturoznawstwo
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2021
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issue 11 (14)
45-58
EN
The artistic manifesto of Florentine Camerata is widely regarded as a breakthrough moment not only in musical stylistics but also in theoretical reflection on music. In traditional musicography, the year 1600 appears to be a fairly clear border separating the Renaissance from the Baroque. However, the musical designations of both periods are very vague and their application inevitably leads to contradictions. The solution to these contradictions can be a model of interpretation of the history of music that links musical creation with the current of humanistic inspirations that have been present in European culture at least since the mid-sixteenth century and lasting for the next hundred years. This trend has led to a significant re-evaluation of the issue of style in music, which reflects the concept of mannerism quite well.
PL
Artystyczny manifest florenckiej Cameraty powszechnie uważa się za przełom nie tylko w stylistyce muzycznej, ale także w teoretycznej refleksji nad muzyką. W tradycyjnej muzykografii cezura roku 1600 jawi się jako dość wyraźna granica oddzielająca renesans od baroku. Muzyczne desygnaty obydwu tych epok są jednak bardzo niejasne, a ich stosowanie nieuchronnie prowadzi do sprzeczności. Za ich rozwiązanie posłużyć może taki model interpretacyjny, który wiąże twórczość muzyczną z nurtem inspiracji humanistycznych, obecnych w kulturze europejskiej co najmniej od połowy wieku XVI i trwających przez kolejne stulecie. Nurt ten doprowadził do znaczącego przewartościowania kwestii stylu w muzyce, co dość dobrze oddaje pojęcie manieryzmu.
5
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Work of the Parisian Wotton’s Binder «C» from 1564 in the Collection of the Gdańsk Library of Polish Academy of Sciences

80%
Wagner A.
Toruńskie Studia Bibliologiczne
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2016
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vol. 9
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issue 1(16)
101-119
EN
The present authors have conducted an analysis of one of the relics of modern Western European bookbinding found in the collections of the Gdańsk Library of Polish Academy of Sciences: the so far unidentified binding of Wotton’s Binder «C», acting in Paris between the 1540s and at least the year 1564. The work has a characteristic orientalised decoration, which fits in with the trends of the French bookbinding ornamentation from 2. half of XVIth C. Its composition was based on centre moorish-ribbon medallions, corner quarter-medallions and adornments of the à semé type. A book clothed in this cover was first located in the collections of a certain Ioannes and later in the collections of a bibliophile from Gdańsk, Daniel Czirenberg (Zierenberg).
PL
W artykule dokonano analizy jednego z zabytków nowożytnego introligatorstwa zachodnioeuropejskiego w zbiorach Biblioteki Gdańskiej PAN: dotąd nie zidentyfikowanej oprawy Introligatora Wottona «C» działającego w Paryżu między latami 40. XVI w. a przynajmniej 1564 r. Dzieło to ma charakterystyczną dekorację orientalizującą, która wpisuje się w tendencje francuskiego zdobnictwa introligatorskiego 2. połowy XVI w. Jej kompozycję oparto na centralnym medalionie maureskowo-wstęgowym, narożnikowych ćwierć-medalionach, oraz zdobieniach à semé. Książka w tej oprawie znajdowała się pierwotnie w zbiorach bliżej nieznanego Ioannesa, a następnie bibliofila gdańskiego, Daniela Czirenberga (Zierenberga).
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