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THE HISTORY OF WALENTY ZEBROWSKI'S WARSAW POLYCHROME

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Witwinska M.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 1
59-91
EN
According to monastic records, Brother Walenty Zebrowski (d. 1765), a painter for the Greater Poland (Wielkopolska) province of the Franciscan Observants became a member of the Warsaw convent of his order in May 1747. The polychrome decorating the interiors of St. Anne's church in Warsaw is supposed to have been the first for which he took the full responsibility of conceiving, although its actual execution was carried out both by himself and a second, unnamed painter working under his supervision. He was also the author of some of the altar paintings in the same church. The realisation of this particular, monumental polychrome had in the creative work of Zebrowski a fundamental significance while also representing a significant role in the artistic life in Warsaw during the first half of the 18th century.
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THE JAGIELLONIAN PATRONS OF THE ARTS IN UPPER LUSATIA IN THE YEARS 1490-1526

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Torbus T.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 1
5-16
EN
The existence of the Jagiellonians as an eastern and/or central-eastern dynasty ruling dominions subjected to complicated political processes is a poorly researched theme (cf. Polish researchers: J.S. Keblowski and M. Zlat). Assertions made in this text negate the traditional view of the Jagiellonians as exerting no more than nominal control over Lusatia, and the contacts between the art of their court and that of the towns in the region were very minimal. Lusatia's incorporation into a group of kingdoms stretching far to the East under the rule of the Jagiellonians intensified transfers in cultural values, and in the specific case of the arts this contact accelerated the adaptation to new forms. The architectural works post-dating the Görlitz fire of 1525 (under supervision of town builder Wendel Roskopf) belong to some of the earliest Renaissance works in the Holy Roman Empire. The widely emanating cultural influences flourishing under the Jagiellonians suggest if hardly a complete reversal in the sphere of the arts at least, then at least a certain equilibrium of mutual, as opposed to one-way, exchange during the thousand-year relations between Germany and Poland. Be that as it may, the local nobility's weakness and isolation from major urban centres, ensured the burgher elites of the so-called 'Sechsstädtebund' remained responsible for political rule until the mid-1500s. (www.uni_leipzig.de/kuge/torbus/index.htm)
3
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QUEEN OF POLAND - PRINCESS OF LORRAINE: ON THE PORTRAITS OF ELEONORA HABSBURG

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Widacka H.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 2
149-163
EN
The etched iconography relating to the Habsburg Eleonora Maria Josepha (1653-1697), wife to the Polish monarch, Michael Korybut Wisniowiecki (1670), and subsequently the prince of Lorraine, Charles V (1678), arose mainly in Germany, Italy, France and Lorraine, while no more than a small number of painted objects have been preserved, confirmed only in the graphics available. The portraiture of the Habsburg princess, much as paintings depicting the same figure, present her as queen of Polish and princess of Lorraine. Two main groups of portraits are dealt with, one containing mainly undated pictures prior to 1678 and the other in her capacity as princess of Lorraine. All iconographic sources present for prosperity the picture of a young woman of slim figure and subtle, delicate and even original charm, a woman dressed in great splendour and not lacking in taste who must have adored costly jewellery. The etchings almost certainly relate to the artistic patronage of the courts of king Michael Korybut Wisniowiecki in Warsaw and Leopold I in Vienna (brother of Eleonora), as well as Charles V of Lorraine at Innsbruck.
4
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THE ST. CASIMIR CHAPEL IN VILNA AND ITS CREATORS

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Jamski P. J.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 1
19-42
EN
The originally Gothic chapel dedicated to the Assumption was funded by Casimir Jagiellonczyk. It served the royal family when it resided in the city's Lower Castle, while the crypt provided a burial site for the Jagiellonians, including the Royal Prince St. Casimir and king Alexander Jagiellonczyk. During the reigns of Sigismund I and Sigismund Augustus, the chapel was enlarged and restored at royal expense. In connection with the rising cult of Casimir-Prince, Sigismund III Vasa initiated efforts to have the chapel restored in preparation for the former's canonisation. Changing political circumstances in the Poland-Lithuania and rising status of Vilna led to the building of a more richly decorated chapel dedicated to St. Casimir, begun around March, 1623 (according to archivised documents), linked directly to the neighbouring Lower Castle (recently 'reconstructed'). To carry out the design, Sigismund employed both local artists (e.g. Piotr Nonhardt), while Constante and Jakub Tencalla were its main executors, while a long list of sculptors and painters were employed for interior decoration. Detailed information also exists on materials used on the main construction. For Sigsmund III Vasa it was important to emphasise the Roman character of the architecture; hence emphasised references to Roman Baroque architecture and that of the Papacy in particular.
5
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THE IDEOLOGICAL CONTENTS OF THE SIENIAWSKIS' MAUSOLEUM AT BRZEZANY (W. UKRAINE)

100%
Nesterow R.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 2
167-192
EN
The Ideological Contents of the Sieniawskis' Mausoleum at Brzezany founded in 1530 by Mikolaj Sieniawski, Brzezany (Ukr. Berezhany) is situated about 80km South-East of Leopolis (Ukr. L'viv, Pol. Lwów). The family castle, completed in 1554, was raised on the town's eastern flanks. The church at Brzezany, next to the castle, is not a uniform construction. Its current shape resulted from successive extensions over the past two centuries. The original chapel was probably raised before 1524 from the funds provided by Mikolaj Sieniawski. In the years 1619-24 a chapel with cupola was added to the existing building's western side, while a second chapel with cupola was put up in 1729-30 on the church's opposite side, which was funded by Elzbieta Sieniawska of the Lubomiskis (arch. J. de Logau), thus giving rise to the so-called Brzezany mausoleum. Two completely different ideological programmes may be distinguished in the chapel: one in the cupola and the other in the sarcophagus adornings. The town subsequently passed into the hands first of the Czartoryskis and subsequently the Lubomirskis and Potockis. The uninhabited castle gradually fell into disrepair. In 1878, Count Stanislaw Potocki, decided to have the church thoroughly renovated, when the ultimate shape of the mausoleum was devised by professor Leonard Marconi of Leopolis (then officially still Lemberg) Polytechnic. In 1960 what remained of the Sieniawski tombs were transported to Leopolis to be subsequently placed in the castle at Olesko. At the time of writing, the church is in a state of complete devastation and its fate already decided. During the later-19th-century conservation work, the tombs intended for the uncompleted chapel were placed inside it and four sarcophogi belonging to the brothers Mikolaj, Aleksander and Prokop, were retrieved from the crypt in the opposite chapel. These sarcophagi happily survived and are preserved in the castle at Piaskowa Skala, in the department of the State Collections of Art housed in Wawel Castle.
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