Obraz Św. Hieronim w pracowni z kolekcji Lanckorońskich na Wawelu – iluzja i realizm na styku malarstwa włoskiego i niderlandzkiego przełomu XV i XVI w.

• Authors: Tracz Szymon

Title variants

EN

The painting of “St. Jerome in His Study” from the Lanckoroński collection in the Wawel Royal Castle – illusion and realism combining Italian and Dutch painting schools at the turn of the 15th and 16th centuries

• Languages of publication: PL

Abstracts

EN

“St. Jerome in his study” – the painting by an anonymous painter that dates back to the turn of the 15th and 16th centuries from the Lanckoroński collection and is currently in the collection of the Wawel Royal Castle (inventory number 7958), is associated with the schools of Bologne and Ferrara. As a part of the predella of an altarpiece which no longer exists, it seems to be a mature work of art, created as a combination of artistic experiences of northern Italy. The painting includes stylistic and formal solutions of two intersecting trends emerging from Italian and Dutch paintings of the turn of the 15th and 16th centuries, with a particular emphasis on the development of the real space, as well as the space based on illusion. In accordance with a prevailing at that time Alberti’s idea of the frame of the painting as an open window, the composition of the panel was based on the principle of a closed box – a coffer without a wall – the recto of the painting, so that a viewer could gain an inside perspective. Hence, by using principles of descriptive perspective, the painter created a real interior of a humanist studiolo, with deceptive depth of space, which is widened by the niches of the illusionistically painted cupboard shelves and objects placed on them. The most compelling and surprising element of the painting is a massive wall located on its left side, along with the illusionistically painted niches, piled one above the other. Only at this point may one have an impression that the recto of the painting is disturbed by delicate tassels strung on a string of a cardinal’s hat that seem to be “spilling” outside the niche. The semi-circular niche becomes a place for an extraordinary exhibition of still life – the cardinal’s hat, which, along with the lion is the most obvious attribute of St. Jerome. This trompe – l’oeil, surprising in its modest form, but at the same time very original, becomes a meaningful link connecting the South with the North – reality with illusion. At the same time, both niches are a distant reflection of the Hellenistic paintings of Herculaneum and Pompeii, which presented a still life (Xenion) arranged on two shelves, placed one above the other. The painter does not limit himself only to the niches. He also reflects the desire for reality that is constantly intriguing him in the way he creates the objects filling up the stone shelves of St. Jerome’s studiolo.

Keywords

PL

Św. Hieronim w pracowni; kolekcja Lanckorońskich; szkoła bolońskai ferraryjska; Zamek Królewski na Wawelu

EN

St. Jerome in his study; Lanckoroński collection; schools of Bologne and Ferrara; Wawel Royal Castle

• Publisher: Akademia Techniczno-Humanistyczna w Bielsku-Białej, Instytut Teologiczny im. Jana Kantego w Bielsku-Białej, Książnica Beskidzka
• Journal: Świat i Słowo
• Year: 2014
• Volume: 12
• Issue: (1)22
• Pages: 19-35

Contributors

author

Tracz Szymon

• Uniwersytet Papieski Jana Pawła II, ul. Kanonicza 9, 31-002 Kraków

References

• J. Winiewicz-Wolska, Karol Lanckoroński i jego wiedeńskie zbiory, t. 2, Katalog – Malarstwo, rzeźba, miniatura, Kraków 2010.
• M. Skubiszewska, K. Kuczman, Obrazy z kolekcji Lanckorońskich z wieków XIV-XVI w zbiorach Zamku Królewskiego na Wawelu, Kraków 2008.
• L. Scardino, Alcuni collezionisti: un repertorio biografico, [w:] La legenda del collezionismo. Le quadrerie storiche ferraresi, red. G. Agostini, J. Bentini, A. Emiliani, Ferrara 1996.
• Z. Waźbiński, Portret renesansowego amatora sztuki, [w:] „Rocznik Historii Sztuki” 1969, t. 7.
• A. Jasińska, Portret uczonego w malarstwie. Zarys historii i rozwoju typów ikonograficznych, [w:] Uczony i jego pracownia. Katalog wystawy w Muzeum Uniwersytetu Jagiellońskiego, red. M. Reklewska, Kraków 2005.
• J. Białostocki, O dawnej sztuce i jej teorii i historii, red. M. Poprzęcka, A. Ziemba, S. Michalski, Gdańsk 2009.
• M. Natale, De kunsten in Ferrara in de 15de eeuw, [w:] Een bijzondere Renaissance. Het Hof van de Este’s te Ferrara, red. J. Bentini, G. Agostini, B. Ghelfi, Brussel 2003.
• B.W. Meijer, Ferrara en het Noorden, [w:] Een bijzondere Renaissance. Het Hof van de Este’s te Ferrara, red. J. Bentini, G. Agostini, B. Ghelfi, Brussel 2003.
• G. Bastek, Warsztaty weneckie w drugiej połowie XV i w XVI wieku. Bellini, Giorgione, Tycjan, Tintoretto, Warszawa 2010.
• S.J. Campbell, Cosmè Tura of Ferrara. Style, Politics and the Renaissance City, 1450–1495, London 1998.
• M. Natale, De kunsten in Ferrara in de 15de eeuw, [w:] Een bijzondere Renaissance. Het Hof van de Este’s te Ferrara, red. J. Bentini, G. Agostini, B. Ghelfi, Brussel 2003.
• L.B. Alberti, O malarstwie, oprac. M. Rzepińska, tłum. L. Winniczuk, Wrocław-Warszawa-Kraków 1963.
• A. Ziemba, Iluzja a realizm. Gra z widzem w sztuce holenderskiej 1580–1660, Warszawa 2005.
• M. Poprzęcka, Przestrzeń i linia w teorii malarskiej Leonarda da Vinci, „Rocznik Historii Sztuki” 1969.
• Z. Waźbiński, Malarstwo Quattrocenta, Warszawa 1989.
• M. Kemp, „Perché sembri vero”: il disegno prospettico dello studiolo di Gubbio, [w:] Lo studiolo di Federico da Montefeltro. Il Palazzo Ducale di Gubbio e il restauro del suo studiolo, red. O. Raggio, Milano 2007.
• B.W. Meijer, Ferrara en het Noorden, [w:] Een bijzondere Renaissance. Het Hof van de Este’s te Ferrara, red. J. Bentini, G. Agostini, B. Ghelfi, Brussel 2003.
• C. Bucci, Wielka historia sztuki, t. 3. Wczesny renesans, Warszawa 2010.
• M. Spring, The Materials of Rogier van der Weyden and his Contemporaries in Context, [w:] Rogier van der Weyden in Context. Papers presented at the Seventeenth Symposium for the Study of Underdrawing and Technology in Painting held in Leuven, 22–24 October 2009, red. L. Campbell, J. Van der Stock, C. Reynolds, L. Watteeuw, Paris-Leuven-Walpole, MA 2012.
• T.H. Borchert, The reinvention of painting. Notes on panel painting at the time of the Van Eyck Brothers, [w:] Van Eyck to Dürer. Early Netherlandish painting & Central Europe 1430-1530, red. T.H. Borchert, Bruges 2010.
• A. Châtelet, Hubert et Jan van Eyck créateurs de l’Agneau mystique, Dijon 2011.
• J. Van der Stock, Canon in Context. Consumption of Early Netherlandisch Images in the Fiftteenth and the First Half of the Sixteenth Centuries, [w:] Rogier van der Weyden in Context. Papers presented at the Seventeenth Symposium for the Study of Underdrawing and Technology in Painting held in Leuven, 22–24 October 2009.
• J. Białostocki, Sztuka XV wieku od Parlerów do Dürera, Warszawa 2010.
• V. Stoichita, Ustanowienie obrazu. Malarstwo u progu ery nowoczesnej, Gdańsk 2011.
• V. Stoichita, Ustanowienie obrazu, s. 30; Ch. Sterling, Martwa natura. Od starożytności po wiek XX, Warszawa 1998.
• Pliniusz, Historia naturalna (wybór), przekład, komentarz I. Zawadzka, T. Zawadzki, Wrocław-Kraków 1961.
• G. Vasari, Żywoty najsławniejszych malarzy, rzeźbiarzy i architektów, wyd. K. Estreicher, Warszawa 1980.
• A. Ziemba, Sztuka Burgundii i Niderlandów 1380–1500, t. 1. Sztuka dworu burgundzkiego oraz miast niderlandzkich, Warszawa 2008.
• O. Raggio, Lo studiolo di Federico da Montefeltro. Il Palazzo Ducale di Gubbio e il restauro del suo studiolo, Milano 2007.
• G. Agostini, Cosmè Tura – Sint-Jacobus de Meedere, Sint-Dominicus, [w:] Een bijzondere Renaissance. Het Hof van de Este’s te Ferrara, red. J. Bentini, G. Agostini, B. Ghelfi, Brussel 2003.
• D. Cattoi, Ercole de’Roberti – Sint-Petronius, Sint-Antonius abt., Sint-Hieronymus, Sint-Catharina, Sint-Joris, Sint-Mchaël, Sint- Apollonia, [w:] Een bijzondere Renaissance. Het Hof van de Este’s te Ferrara, red. J. Bentini, G. Agostini, B. Ghelfi, Brussel 2003.
• C. Cavalca, Vicino da Ferrara - H. Hiëronymus, [w:] Een bijzondere Renaissance. Het Hof van de Este’s te Ferrara, red. J. Bentini, G. Agostini, B. Ghelfi, Brussel 2003.
• L. Kanter, Francesco di Stefano, called Pesellino, [w:] Fra Angelico, red. L. Kanter, P. Palladino, New York 2005.