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1

Architektura kościoła parafialnego pw. św. Michała Archanioła w Tartakowie

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Dworzak A.
Rocznik Przemyski
|
2013
|
vol. 49
|
issue 3: Historia
17-31
EN
The village of Tartaków is situated in the former Bełz powiat, currently in Ukraine. The local Archangel Michael parish church was founded in 1739 by Franciszek Salezy Potocki, the voivod of Kiev and Wolhynia, and crown carver. The construction lasted probably until ca. 1751, when Potocki commissioned the Virgin Mary painting for the church. In the second half of the 18th century the Tartaków church became a Marian sanctuary with the worship of the wondrous painting of Our Lady the Healer of the Sick. In the nave and on the vault the remains of 18th-century frescos by Tomasz Gertner are found. The present appearance of the church is different from the original one; in the late 19th century it was extended, a new chancel was added as well as two chapels functioning as a pseudo-transept. The original shape of the church, austere and simple, indicates the local education of the architect and is deeply rooted in previous architectural solutions.
2

Nowe źródła do prac Macieja Polejowskiego w Kolegiacie Sandomierskiej

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Dworzak A.
Roczniki Humanistyczne
|
2014
|
vol. 62
|
issue 4: Historia Sztuki
033-073
PL
Prace lwowskiego rzeźbiarza Macieja Polejowskiego dla kolegiaty w Sandomierzu są stosunkowo dobrze znane dzięki badaniom Jerzego Kowalczyka. Jednak w świetle nowych materiałów archiwalnych, głównie rachunków i ksiąg fabrycznych, można uzupełnić wiedzę na temat funkcjonowania i składu warsztatu Polejowskiego oraz zakresu pracy. Jak się wydaje, w sprowadzeniu do Sandomierza lwowskiego mistrza oprócz abp. Sierakowskiego mógł mieć także udział ks. Jacek Kochański, który z ramienia kapituły nadzorował jego prace. analiza materiałów archiwalnych i zabytków pozwoliła wyodrębnić prace autorskie Franza Mullera, prawdopodobnie członka warsztatu Polejowskiego, z prac lwowskiego mistrza. Istotną informacją jest także odnaleziona dyspozycja obrazów w nowych ołtarzach bocznych, która powstała już w 1768 roku. Tak więc nie jest prawdą jakoby zagadnienie ikonografii ołtarzy sandomierskich było wtórne. Oprócz zaproponowanych przez Kowalczyka wzorców dla struktur ołtarzy, można także wskazać inne ryciny F.X. Habermanna, którego sztychy miały wpływ na zastosowaną przez Polejowskiego ornamentykę. Choć tu możną także wskazać na projekty Georga Christopha Götza. Nowe materiały pozwoliły ustalić pierwotną kolorystykę nastaw, a także określić zakres ingerencji zleceniodawcy (kapituły) w ogólne wytyczne kompozycyjne. Także tron wystawienia, który obecnie pełni funkcję podstawy pod krucyfiks, należy wiązać z warsztatem Polejowskiego, a anioły adorujące za własnoręczne dzieło mistrza.
EN
The works by the Lvov sculptor Maciej Polejowski that he created for the collegiate church in Sandomierz are relatively well researched thanks to the studies done by Jerzy Kowalczyk. However, in the light of new archival material – mainly bills and the book of expenses – our knowledge about the functioning and the staff of Polejowski’s workshop as well as about the range of the work they did may be complemented. It seems that apart from Archbishop Sierakowski also Rev. Jacek Kochański contributed to the idea of bringing the Lvov master to Sandomierz, as he supervised Polejowski’s work on behalf of the Chapter. Analysis of record office materials as well as of actual works has allowed distinguishing among the Lvov master’s works some original ones by Franz Muller, who seems to have been a member of the staff of Polejowski’s workshop. Also, a recently found order of 1768 for paintings for the new bye-altars is important – it shows that is not true that the issue of the iconography of the Sandomierz altars is a secondary one. Apart from the patterns for the altar structures proposed by Kowalczyk, also prints by F. X. Habermann may be pointed to, as they also influenced the ornamentation used by Polejowski. On the other hand, Georg Christoph Götz’s projects may be here referred to as well. New materials have allowed determining the original colors of the retables, and also defining the range of interventions from the employer (the Chapter) in the general composition directives. Also the throne of the exposition that at present plays the role of the basis of the crucifix should be connected with Polejowski’s workshop, and the adoring angels should be considered a work of the master himself.
3
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Ołtarze z cudownymi wizerunkami w twórczości braci Polejowskich

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Dworzak A.
TECHNE. Seria Nowa
|
2018
|
issue 1
205-222
EN
Despite the fundamental work by Andrzej Jozef Baranowski which discusses the veneration of holy Marian images in the former Polish Republic, the influence of holy paintings on the artistic initiative still remains underrated, primarily in terms of the furnishing of sanctuary churches. It must not be forgotten that the celebrations with these images were the reason behind numerous interior modernisations, the replacements of furnishings and fittings – mainly altars – and the translocations of paintings, veneration and anniversary celebrations. In the Ruthenian Voivodeship, these actions resulted in a series of most superb artistic realisations in the 18th century Polish Republic, such asthe central altars in the parish church in Hodowica, the Franciscan church in Przemyśl, the Dominican church in Podkamień, or the Latin Cathedral in Lviv. Since the majority of these are directly or indirectly linked to brothers Piotr and Maciej Polejowski, it is worth making an attempt to analyse the schemes and compositional solutions they had worked out. On the one hand, there will be structures designed by Piotr Polejowski, which expand and ‘distend’ church presbyteries, creating a multiplied frame for holy paintings (the altar of the Franciscan church in Przemyśl and in the Latin Cathedral in Lviv) accompanied by elaborate and complex iconographic programmes. The second trend entails reredoses designed by Maciej Polejowski, openwork, two-panel screens and high pedestals with gates upfront, complemented with free-standing pillars and sculptures in the clearances, behind which the very reredos with the holy painting can be seen. This design was implemented in the Bernardine screens in Opatow and Zaslav. Thus, we face two trends in designing altars by the Polejowski Brothers, and sensu largo within the Lviv art in the second half of the18th century. Piotr Polejowski’s reredoses – with their impacting monumentality, abundance of decorations and multiplicity of articulations, directly continuing Meretynean patterns from Horodenka– are contrasted with Maciej Polejowski’s ‘light’, two-panel, openwork compositions that so skilfully applied light effects and played with the audience through their backstage-like design and overlapping of sets aimed at exposing the holy image.
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