POLSKA PÓŁNOCNO-ZACHODNIA (POMORZE ZACHODNIE I ZIEMIA LUBUSKA)

• Authors: Domasłowski Jerzy

Title variants

EN

WESTERN POMERANIA AND THE LUBUSKA LAND

• Languages of publication: PL

Abstracts

EN

Art monuments in Western Pomerania and in the Lubuska Land (voivodships of Gorzów, Koszalin, Słupsk and Szczecin) sustained great losses as a result of war operations in 1945 (Kołobrzeg, Sławno, Bytów, Długołęka, Sulęcin, Szczecin-Klęskowo, Zielin and other towns). Some paintings got destroyed or plastered in the first years öfter the war (just to mention Chwaszczany, Czarnówko, Starków). On the other hand, a number of other decorations were uncovered and preserved a t that period, just to mention the church of St John the Baptist in Szczecin, churches at Wełtyń, Mętno Małe, Sławsko, Grzędzice, Kołobrzeg. The oldest example of wall-painting in that region is a Romanesque decoration of the vaulting in the sacristy of the cathedral at Kamień Pomorski (13th century). There, there are also the oldest examples of paintings: the Romanesque-Gothic Crucifixion (after 1308) and Christ-the Judge (after 1330), the first example of a Gothic linear style. The scenes from Jesus’ life painted in the so-called treasury were painted after 1350; the author must have come from Western Europe. In the first half of the 14th century the paintings a t Czachów were created (including several figures of devils). In ca 1350 the Crucifixion at Marwice was painted. These paintings belong to a provincial, flat and linear artistic trend met in nearly entire Northern Europe till the end of the 15th century. Wall painting in Western Pomerania reached its culmination in the years of 1400—1450. In ca 1400, apart from figures of saints at Chwaszczany and paintings at Czarnówko, the collegiate in Kołobrzeg was decorated. A typological cycle was painted on the vaulting of the aisle ; figures of Wise and Foolish Virgins, of saints and prophets were painted in naves. A figurative decoration was also out on one of the pillars. Passion scenes on the vaulting of the chapel under the tower must have been placed at a somewhat later date. The Crucifixion of Jesus by Virtues at Chojno and paintings at Mętno Małe were executed in the subsequent years. Figurative and ornamental decorations were put on the vaulting of the church at Sławno, while exclusively ornamental one was done at Sławsko. It was also at that time that paintings at Moryń (scene with devils), in St. John’s Church in Szczecin (Mystical Wedding of St Catherine) and in the sacrysty of St Mary’s Church at Stargard Szczeciński were executed. In 1450 a series of paintings at Grzędzice (Passion scenes and saints) was created, while in the second half of the 15th century paintings at Maszewo, Szczecin, Trzebiatów (prophets), Chojno and at Stargard were done. In the first half of the 16th century a big number of christological scenes and the ones based on the Old Testament were painted, in which both late-Gothic and Renaissance elements could be found. Almost entirely contemporary are paintings from Starków, now transferred to the Academy of Fine Arts in Cracow.

• Publisher: Narodowy Instytut Dziedzictwa
• Journal: Ochrona Zabytków
• Year: 1980
• Issue: 2
• Pages: 125-130

Dates

published

1980

Contributors

author

Domasłowski Jerzy

• mgr, PP PKZ — Oddział w Toruniu

References

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• S. Wo j c i k , Odkrycia i prace konserwatorskie w kościele w Sławsku koło Sławna, „Koszalińskie Zeszyty Muzealne” , R. 5, 1975, s. 311—337.
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