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Between Prague and Wrocław. A series of portraits of Wrocław masters of the Knights of the Cross with the Red Star

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Kozieł A., Wojtyła A., Cimała A.

Umění (Art)

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2019

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vol. 67

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issue 6

551-564

EN

The monastery of the Knights of the Cross with the Red Star in Wrocław used to be decorated with a gallery of 50 portraits of local masters which has survived to a large extent to our times. Recent research enabled us to reach all 34 preserved paintings from the series and perform their detailed analyses. The portraits were made in the same, exceptionally rich representative convention. The presentation of the foundational, intellectual and spiritual achievements of the individual masters and the most important events of their reign takes place in the backgrounds of many portraits and consistent with the content of extensive golden inscriptions which have been placed in an identical form on all the portraits. The textual source was Michael Fibiger’s manuscript Series et acta magistrorum Wratislaviensium sacri militaris ordinis crucigerorum cum rubea stella hospitalis sancti Mathiae, completed in 1706. The formal model for the series was the set of portraits of general masters of the Knights of the Cross with the Red Star, which is located in their monastery in Prague. This strict formal dependence is not surprising, as the monasteries maintained close contacts since 1667. The author of the majority of paintings was a Wrocław guild master, Johann Jacob Eybelwieser the younger (1667–1744). The founder of the portraits was master Ignaz Magnet and later the gallery was gradually completed by his successors. The series of portraits of Wrocław masters does not compare artistically to its Prague prototypes. What distinguishes Wrocław’s paintings, however, is the enormous scale of this undertaking and its deep propaganda function, which was the result of the fact that the portraits of the masters of St. Matthew’s monastery became one of the battlefields for Wrocław knights’ efforts to gain the status of a knightly order. Although we can point to the Baroque series of portraits preserved in Silesia to this day which match the Wrocław realisation in terms of scale and number of representations, none of them was provided with such an extensive system of symbolic representations, inscriptions and signs of an ideological character which complement the portrait.

CS

Klášter křižovníků s červenou hvězdou ve Vratislavi býval vyzdoben portrétní galerií padesáti zdejších řádových mistrů. Ta se z velké části zachovala do současnosti. Díky nedávnému výzkumu jsme dohledali všech třicet čtyři obrazů dochovaných z tohoto cyklu a provedli jejich podrobnou analýzu. Portréty shodného typu byly pojaty mimořádně reprezentativně. Na pozadí mnoha z portrétů jsou představeny fundační, intelektuální a duchovní úspěchy jednotlivých mistrů a nejvýznamnější události jejich úřadu. Obsahově s nimi souvisí rozsáhlé, formálně shodné zlaté nápisy umístěné na všech portrétech. Jejich písemným pramenem byl rukopis Michaela Fibigera Series et acta magistrorum Wratislaviensium sacri militaris ordinis crucigerorum cum rubea stella hospitalis sancti Mathiae, dokončený v roce 1706. Předlohou cyklu byl soubor portrétů velmistrů řádů křižovníků s červenou hvězdou z křižovnického kláštera v Praze. Vzhledem k tomu, že kláštery od roku 1667 udržovaly těsné kontakty, naprostá formální závislost není nijak překvapivá. Autorem většiny obrazů byl vratislavský cechovní mistr Johann Jacob Eybelwieser mladší (1667–1744). Portréty objednal mistr Ignaz Magnet a galerii postupně doplňovali jeho nástupci. Cyklus portrétů vratislavských mistrů se umělecky nevyrovná pražským vzorům. Odlišuje se však neobyčejným rozsahem a zásadní úlohou maleb v řádové propagandě, jež vyplynula ze skutečnosti, že portréty mistrů z kláštera sv. Matěje se staly jedním z polí, na němž vratislavští křižovníci bojovali o získání statutu rytířského řádu. Přestože můžeme poukázat na cykly barokních portrétů dochované ve Slezsku, které se vratislavskému souboru vyrovnají rozsahem i počtem obrazů, žádný z nich neobsahuje tak obsáhlý systém symbolických vyobrazení, nápisů a znaků ideologické povahy doplňujících portréty.

2

Projekt Matoševa spomenika u Zagrebu godine 1938. s pregledom vrijedne likovne „matošiane”

61%

Čorkalo Jemrić K.

Poznańskie Studia Slawistyczne

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2014

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issue 7

63-78

EN

The paper describes the first organized attempt to erect a monument to A.G. Matoš in Zagreb (1938), an erected monument – Matoš on the bench – made by I. Kozarić (1978), as well as other visual art works inspired by Matoš – portraits, busts, and caricatures. At the end a description of the memorial house of Matoš and other memorials in his born-town Tovarnik is given, with emphasizing of the future activities in the memorial house. Inspired by the important book To the memory of A.G. Matoš, this paper gives an overview of the memorial heritage dedicated to the great poet.

3

The Witkacy Collection and Exhibition at the Museum of Middle Pomerania in Słupsk

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Zgodzińska B.

Estetyka i Krytyka

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2013

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issue 4(31)

49-52

EN

This article describes the development of the Witkacy Collection in the Słupsk Museum. It details the original acquisitions in 1965 and the subsequent additions to the collection. While most of the exhibit consists of portraits, the author explains that other artistic works have been added to the collection, including drawings and oil paintings. In addition to the art works, the museum also maintains archival documents including postcards, letters, manuscripts, typescripts, and first editions.

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Portret czasów rewolucji

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Bernatowicz A.

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2012

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vol. 74

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issue 3-4

601-619

EN

The article focuses on a comprehensive reflexion on the painting showing Hanging of the Traitors in Effigie 29 Sept. 1794 (oil, Warsaw History Museum, property of National Museum, Warsaw) attributed to either Jean Pierre Norblin or Aleksander Orłowski. The painting is a unique historical testimony documenting the act of justice meted out on the leaders of the Targowica Confederation sentenced with final binding judgment of the insurgents’ tribunal to death for betraying their homeland. Since the convicts succeeded in escaping, in compliance with the valid procedures, their portraits were hanged. The painter rendered the moment of the sentence being administered: in the presence of the famous Działyński Infantry Regiment, the Capuchins seeing to the ‘convicts’, and the gathered crowd. The convicts’ portraits were placed on peasant carriages, and among them (on the first carriage) there was a portrait of Great Crown Hetman Franciszek Ksawery Branicki. The hangman is placing the effigy of Szczęsny Potocki on the gallows, underneath Seweryn Rzewuski is already awaiting his turn.

5

The Sevillian collection of the images of Mercedarians by Zurbarán

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Dzikowska G.

Folia Historica Cracoviensia

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2016

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vol. 22

77-89

PL

Wizerunki zakonników mercedariańskich autorstwa Francisco de Zurbarána powstały do sewilskiego klasztoru Nuestra Señora de la Merced. Artysta naszkicował postaci braci zakonnych z odległych czasów w oparciu o fizjonomię współczesnych mu modeli. Zachowane obrazy charakteryzują się prostotą kompozycji. Każde płótno wypełnia postać zakonnika odzianego w biały habit. Wszyscy ukazani przedstawiciele zakonu, za wyjątkiem świętego Serapiona, przedstawieni zostali z księgą, która podkreśla walory intelektualne wybranych zakonników. Podobizny mercedariuszy zdobiące ściany pomieszczeń klasztornych stanowiły punkt odniesienia oraz wzór życia zakonnego dla pokoleń mężczyzn wstępujących do zakonu. Francisco de Zurbarán za pomocą dwóch barw: ciemnego, niemalże czarnego tła i jaśniejącej na nim bieli zawarł duchowy wymiar wizerunków uwznioślając ideę życia zakonnego.

EN

The portraits of Mercedarian monks by Francisco de Zurbarán were created for the Sevillian monastery Nuestra Señora de la Merced. The artist sketched images of old-time monks based on the physiognomy of his contemporary models. The surviving paintings characterize in a simplicity of composition. Each canvas shows an image of a monk clothed in a white frock. All the presented members of the order, with the exception of Saint Serapion, are pictured with a tome, which emphasizes the intellectual skills of the selected monk. The images of the Mercedarians, which decorated the walls of monastery rooms, were the reference point, as well as a model, of the monastic life for the generations of men who were taking the veil. Francisco de Zurbarán, with the use of two colours: a dark, almost black, background and a shining white, pictured the spiritual dimension of the images, which sublimated the idea of the monastic life.

6

Typologie barokních frontispisů v bohemikálních tiscích z let 1618–1765

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Beránková H.

Knihy a dějiny (Books and history)

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2016

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vol. 23

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issue 1-2

87-126

EN

The article deals with the typology of Baroque frontispieces in printed books published in Bohemian and Moravian printing houses in 1618–1765, which is viewed in terms of the function of the frontispieces in printing. The paper contains a detailed analysis of the main thematic variants of frontispieces. The thematic variants are analysed with respect to the content and genre of the work concerned with the aim to determine the main marketing strategies of Bohemian and Moravian printers, publishers or booksellers in the visual promotion of their products.

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Polonorum Icones – zbiór „wyobrażeń ludzi w ojczyźnie znakomitych, na hołd potomności zasługujących”. Przyczynek do kształtowania kolekcji Gabinetu Rycin króla Stanisława Augusta

41%

Przepałkowska I.

Artifex Novus

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2020

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issue 4

182-193

EN

The set of portraits of famous Poles, called Polonorum Icones, was a part of the Print Room of Stanisław August Poniatowski, the king of Poland. In spite of the opinion of previous researchers, this set of portraits was shaped earlier than 1778. This article attempts to reveal the influence of the relation between King Poniatowski and Michał Mniszech on the formation of the discussed set of portraits. The author also raises the issue of the dependence of Polonorum Icones on the idea of creating Museaum Polonicum.

PL

Zespół portretów sławnych Polaków Polonorum Icones powstał jako część kolekcji Gabinetu Rycin króla Stanisława Augusta. Wbrew dotychczasowym ustaleniom jego kształtowanie przypada na wcześniejsze lata niż rok 1778. W artykule podjęto próbę ukazania wpływu relacji między Poniatowskim a Michałem Mniszchem na formowanie się omawianego zespołu portretów oraz jego zależności od idei utworzenia Museaum Polonicum.

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