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    Wyświetlanie 1-6 z 6
    Tytuł:
    Uwagi na marginesie ksiażki Marka Prejsa Oralność i mnemonika. Późny barok w kulturze polskiej
    Some Remarks about the Marek Prejs’s book Orality and Mnemonyc. The Late Baroque in Polish Culture (Oralność i mnemonika. Późny barok w kulturze polskiej),
    Autorzy:
    Wójcik, Rafał
    Powiązania:
    https://bibliotekanauki.pl/articles/636395.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Opis:
    A review of: Some Remarks about the Marek Prejs’s book Orality and Mnemonyc. The Late Baroque in Polish Culture (Oralność i mnemonika. Pózny barok w kulturze polskiej), Wydawnictwa Uniwersytetu Warszawskiego, Warszawa 2009
    Źródło:
    Terminus; 2011, 13, 24; 127-142
    2084-3844
    Pojawia się w:
    Terminus
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Refleks dzieł Dientzenhoferów na pograniczu Wielkopolski. Architektura kościoła pw. św. Marii Magdaleny w Zamysłowie
    Reflection of the Dientzenhofers’ Works in Greater Poland’s Borderland. Architecture of the Church of St Mary Magdalene at Zamysłów
    Autorzy:
    Stankiewicz, Aleksander
    Powiązania:
    https://bibliotekanauki.pl/articles/23944966.pdf
    Data publikacji:
    2021
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    Zamysłów (Hinzendorf)
    Kilian Ignaz Dientzenhofer
    sztuka XVIII w.
    późny barok
    18th century art
    late Baroque
    Opis:
    Pomimo wysokiej klasy artystycznej, architektura kościoła parafialnego pw. św. Marii Magdaleny w Zamysłowie (Hinzendorf) nie doczekała się jak dotąd opracowania naukowego. Fundację budowli zainicjował ksiądz Philip Walentin Hoffman, a sfinansowały klaryski z klasztoru w Głogowie. Prace budowlane zakończono przed rokiem 1752. Przeprowadzona analiza formalna pozwala na ustalenie, że świątynia swoim układem przestrzennym nawiązuje do kościoła benedyktynów w Legnickim Polu (1727–1731), projektu Kiliana Ignaza Dientzenhofera.
    Despite its high artistic quality, the architecture of the Parish Church of St Mary Magdalene at Zamysłów (Hinzendorf) has not as yet been separately studied. The foundation of the building was initiated by Fr Philip Walentin Hoffman, and it was financed by the Poor Clares of the Głogów Convent with construction works having been completed by 1752. The conducted formal analysis allows to identify the resemblance of the church’s layout to that of the Benedictine Church at Legnickie Pole (1727–1731) designed by Kilian Ignaz Dientzenhofer.
    Źródło:
    Biuletyn Historii Sztuki; 2021, 83, 1; 5-29
    0006-3967
    2719-4612
    Pojawia się w:
    Biuletyn Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Późnobarokowy wystrój i wyposażenie lwowskich kościołów trynitarzy
    Late-Baroque Dècor and Furnishing of Lviv’s Trinitarian Churches
    Autorzy:
    Sobczyńska-Szczepańska, Mirosława
    Powiązania:
    https://bibliotekanauki.pl/articles/23944962.pdf
    Data publikacji:
    2021
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    sztuka trynitarzy
    kościół pw. Świętej Trójcy we Lwowie
    kościół pw. św. Mikołaja we Lwowie
    późny barok
    rokoko
    Stanisław Stroiński
    Johann Georg Pinsel
    Bernard Meretyn
    Sebastian Fesinger
    Trinitarian art
    Church of the Holy Trinity in Lvov
    Church of St Nicholas in Lvov
    Late Baroque Rococo
    Opis:
    Obydwa lwowskie kościoły trynitarzy, pw. Świętej Trójcy i św. Mikołaja, otrzymały wysokiej klasy artystycznej późnobarokowy wystój i wyposażenie, od dawna budzące zainteresowanie badaczy. W pracach przeprowadzonych w latach 1750-1758 w pierwszej świątyni, wzięli udział – jak ustaliła K. Brzezina – m.in. Stanisław Stroiński, Johann Georg Pinsel i Bernard Meretyn. Niewykorzystane dotychczas informacje źródłowe wskazują, że odegrali oni w tym przedsięwzięciu kluczową rolę, dokonując pierwszej we Lwowie kompleksowej transformacji wnętrza kościelnego w duchu rokoka. Jej efekty nie przetrwały próby czasu, w odróżnieniu od dekoracji sztukatorskiej i wyposażenia kościoła pw. św. Mikołaja, wykonanych głównie w latach 40. i 70. XVIII w. Wnikliwa analiza ich form oraz źródeł pisanych pozwoliła na weryfikację sprzecznych atrybucji i datowań, w które obfituje literatura przedmiotu.
    Both Lvov churches of the Trinitarians: of the Holy Trinity and of St Nicholas were given high-quality artistic Late Baroque décor and furnishing which have for long incited scholars’ interest. In the works conducted in 1750-1758 in the first of the churches K. Brzezina identified the participation of e.g. Stanisław Stroiński, Johann Georg Pinsel, and Bernard Meretyn. The previously unused source information demonstrates that they played a key role in the project, conducting the first in Lvov complex transformation of a church interior in the Rococo spirit. Its results have not survived, contrary to the stucco decoration and furnishing of the Church of St Nicholas executed mainly in the 1740s and 70s. A thorough analysis of their form and of written sources has allowed to verify contradictory attributions and datings, abounding in the literature on the subject.
    Źródło:
    Biuletyn Historii Sztuki; 2021, 83, 1; 31-66
    0006-3967
    2719-4612
    Pojawia się w:
    Biuletyn Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Paweł Walenty Wiązkowicz vel Więckiewicz, rzeźbiarz śląski w Małopolsce oraz w ziemi sieradzkiej i wieluńskiej w 2. ćw. XVIII w. Przyczynek do migracji artystów między Śląskiem a Rzeczpospolitą
    Paweł Walenty Wiązkowicz vel Więckiewicz, a Silesian sculptor in Małopolska and in the Sieradz and Wieluń Districts in the second quarter of the 18th century. A contribution to the history of migration of artists between Silesia and the Polish-Lithuanian
    Autorzy:
    Wardzyński, Michał
    Powiązania:
    https://bibliotekanauki.pl/articles/1901974.pdf
    Data publikacji:
    2012
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Paweł Walenty Wiązkowicz vel Więckiewicz
    mała architektura sakralna
    rzeźba sakralna
    późny barok
    XVIII wiek
    Johann Georg Urbansky
    Johann Albrecht Siegwitz
    Franz Joseph Mangoldt
    Baldasar Fontana
    Georg Hankiss
    Anotni Frączkiewicz
    Johann Elias Hoffman
    Konstanty Moszyński
    Anastazy Kiedrzyński
    small sacred architecture
    sacred sculpture
    late Baroque
    18th century
    Antoni Frączkiewicz
    Opis:
    Paweł Walenty Wiązkowicz vel Więckiewicz, most probably coming from Silesia, a sculptor using wood and stone in his work, in the years 1733-1747 lived in Nowa Częstochowa, the Pauline Order's private town, outside the famous monastery-sanctuary of the Picture of the Black Madonna of Częstochowa in Jasna Góra, and then in the nearby town of Żarki that was the center of the estate belonging to the magnate Męciński family. It was a period of extraordinarily intensive work in his professional activity that is still not well enough researched. Employing Wiązkowicz in Jasna Góra in 1733 precisely coincided with the departure of a group of outstanding artists and craftsmen headed by Johann Adam Karinger, that had been brought from Wroclaw and consisted of Johann Albrecht Siegwitz, Franz Joseph Mangoldt, Johann Anton Schatzel and Ignaz Albrecht Provisore; in 1725 they were entrusted with the task of changing the interior of the conventual church into a Baroque one by the Pauline Provincial Father Konstanty Moszyński. Under these circumstances the artistic choice of the sculptor as the continuator of the mentioned work, that was made by the successor of Father Moszyński, Father Anastazy Kiedrzyński who was elected for two terms in May 1728, seems utterly understandable. Wiązkowicz, representing the most topical current of the Wroclaw sculpture, referring to the Prague and Silesian work by the famous sculptors Mathias Wenzel Jäckel and Ferdinand Maximilián Brokof, who copied Johann Georg Urbansky’s and Siegwitz’s best figurative patterns, was rightly considered the best candidate, who working in cheaper, wooden material, was able to reach a similarly high level in making further elements of the furniture for the pilgrimage church in Jasna Góra that would be formally and stylistically close to what had been already done. Between 1733 and 1747 Wiązkowicz built for the order altogether fourteen retables and one pulpit in as many as seven convents and prepositural churches: in Jasna Góra as well as in Wieluń, Żarki, Czestochowa, Pińczów and Leśniów. The fame that he was able to attain owing to these prestigious works allowed him to take a number of profitable orders entrusted to him by the most important employers from the area of north-west Małopolska and the Sieradz District. In the 1730s and 1740s Wiązkowicz became the most important artist creating small architecture and sacred sculpture at the Małopolska – Upper Silesian borderland. His undeniable aesthetic erudition and his ability to compile and contaminate so different patterns allows recognizing this sculptor as an exceptional artistic personality.
    Źródło:
    Roczniki Humanistyczne; 2012, 60, 4; 57-130
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Architekt Abraham Würtzner (?). Przyczynek do dziejów wileńskiego baroku
    Architect Abraham (Würtzner?). Contribution to the History of Vilnius Baroque
    Autorzy:
    Boberski, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/24567385.pdf
    Data publikacji:
    2021
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    Wilno
    architektura
    późny barok
    wileńska odmiana architektury
    Johann Christoph Glaubitz
    Abraham Würtzner
    Abraham Genu
    dzwonnica kościoła Wszystkich Świętych w Wilnie
    kościół karmelitów w Głębokiem
    kościół pijarów w Łużkach
    Vilnius
    architecture
    late Baroque
    Vilnius architecture variant
    bell tower of the Church of All Saints in Vilnius
    Carmelite Church in Głębokie
    Piarist Church at Łużki
    Opis:
    Artykuł jest próbą nakreślenia sylwetki architekta Abrahama, noszącego zapewne nazwisko Würtzner (przed 1700–1758).  Źródła archiwalne zaświadczają, że pochodził z „Krajów Cesarskich”. Prawdopodobnie miał syna Ignacego, również architekta, a także krewnego, złotnika Johanna, który przybył do Wilna z Lidzbarka Warmińskiego. Potwierdzają one ponadto udział architekta Abrahama w powstaniu większości dzieł krzewiących idee Borrominiego i Guariniego, a wiązanych ostatnio z Glaubitzem lub z „anonimowym włoskim architektem”. Był on zatem autorem niezwykłych karmelickich budowli w Wilnie i w Głębokiem, wybudował wieże kościoła dominikanów na Łukiszkach, a także oryginalny kościół kolegium pijarów w Łużkach nieopodal Głębokiego (1742). Budował również w Mińsku oraz w Nowogródku. Jakkolwiek nie ma bezpośrednich odniesień do konkretnych realizacji, indywidualny styl architekta Abrahama pozwala rozważać jego autorstwo wobec szeregu budowli zarówno na terenie Wilna (fasady kościoła wizytek i kościoła franciszkanów, kościół augustianów), Mińska (fasady kościoła dominikanów i kościoła bernardynów, wieża przed kolegium jezuitów) i Nowogródka (cerkiew zamkowa?), jak i na prowincji, np. kościół farny w Iwieńcu czy pałac Radziwiłłów w Zdzięciole (1729–1731?). 
    As much as it is widely acknowledged that the Vilnius variant of late-Baroque architecture did not result as a slow development of the local tradition, but appeared suddenly after 1730, evolving stylistically for the next 40 years, two opposite views regarding its genesis have been clashing for almost a century. The first, and the still domineering one, represented in the publications by Stanisław Lorentz and Vladas Drema, saw the most important, possibly the only initiator and creator of the ‘school’ in Johann Christoph Glaubitz. Both scholars attributed to that unquestionably appreciated architect an impressive output containing over 60 pieces, including all the most outstanding works created both within his confirmed activity (1738–1767), before it, and even after his death. The sources of Glaubitz’s art have been sought after within the circle of architecture of the Imperial Countries, Bohemia, Austria, yet first and foremost in Silesia from where he most likely came. It was Marian Morelowski who promoted a contradictory view: he tried to diversify ‘Glaubitz’s’ hegemony, belittling the role of the artists with German-sounding names, and exposing that of the supposed Italians, Flemish, and native artists instead. When pointing to the Italian inspirations of Vilnius architecture of late Baroque, he emphasized the direct impact of the models by Borromini, Guarini, and Juvarra, as well as Pozzo and the Bibbienas working for the Habsburgs. Under the influence of Piotr Bohdziewicz’s suggestions at the time he seriously considered the possibility that the Vilnius style revolution may have been initiated by the architect Francesco Placidi active in Lesser Poland and his supposed disciples. The major premise for that attribution was the erroneous view which made Bohdziewicz attribute the unusual church in Kobyłka near Warsaw (1740–1746) to Placidi;  in its forms essential analogies with the early works of late-Baroque Vilnius ‘school’ of architecture were spotted. The Kobyłka Church also served as the key to the explanation of the genesis of the ‘school’ by Mariusz Karpowicz: he claimed that the groundworks for late Baroque in Vilnius were laid by Guido Antonio Longhi, later confirmed to have been the author of the church near Warsaw, while the work which played the role of the model was his design of the Uniate Cathedral of St Sophia in Połock from 1738, which actually anticipated the known activity of the architect. Since Longhi left the Polish-Lithuanian Commonwealth in 1749, Karpowicz attributed the most illustrious works of the Vilnius Baroque created after the mid-18th century to his supposed disciple Antonio Paracca of Castello, an architect affiliated to the Platers’ court in Krasław in Livonia. And thus, similarly as in the case of Glaubitz, a coherent and suggestive image was created, although obviously outlined only intuitively. Despite the fact that preliminary researches into archival materials conducted by Polish and Lithuanian scholars have allowed to bring forth profiles of other architects (Joannes Valentinus Tobias de Dyderszteyn, Józef Fontana ‘of Witebsk’, Johann Wilhelm Frezer, Tomasz Żebrowski SJ), while Jerzy Kowalczyk thoroughly  studied Guarini’s roots of late-Baroque architecture of Vilnius, the question of its initiators remains unclear. Still before the outbreak of WW II, Piotr Bohdziewicz and Marian Morelowski had distinguished three buildings whose dynamically undulating cornices  and protruding elevations were supposed to herald stylistic changes which occurred in Vilnius following the city’s fire in June 1737. The first was the Church of the Visitation Nuns whose construction launched in 1720 lasted for at least 20 years; the second was the belfry of the Calced Carmelites of All Saints dated from 1733–1743; the third being the Głębokie church of the Discalced Carmelites located 250 km south of Vilnius whose late-Baroque extension was to be completed with its consecration in 1735. When searching for the authors of those outstanding genuine pieces of architecture, focus was put on above-mentioned Francesco Placidi and his ‘school’, while in the case of the Głębokie towers the hypothesis was accepted that even a direct participation of his master may have taken place, namely that of Gaetano Chiaveri, designer of the Dresden Hofkirche. Having moved the dating, Stanisław Lorentz finally included all the three buildings in Glaubitz’s output, while Jerzy Kowalczyk created the concept of an ‘anonymous Italian architect’ (gently suggesting that Józef Fontatna, active within the Grand Duchy of Lithuania could have played that role), and extended the above-mentioned group by incorporating the undulating façade of the Dominican Church into it. The view on the activity of the anonymous Italian who ‘shyly’ promoted the ideas of Borromini and Guarini in Vilnius was shared by Mariusz Karpowicz, although he considered the façade of the Church of the Visitation Nuns to have been the work of Guido Antonio Longhi. Amidst that vivid academic debate, although not grounded in the sources, an exceptional view had been voiced still before WW II. Namely, owing to the similarity of ornamental motifs, Piotr Bohdziewicz pointed to the two towers of the façade of the Dominican Church of SS James and Philip at the Vilnius Łukiszki, concluding, however, that their author was less courageous in his artistic imagination than the authors of the three structures mentioned earlier. When Euzebiusz Łopaciński found among the invoices of the Łukiszki Dominicans the name of the architect Abraham who raised the towers of the Church of SS James and Philip in 1743–1746, Marian Morelowski, although not avoiding a question mark, attributed to this newly-discovered ‘representative of Placidi’s school’ all the works from the above-mentioned group (and several new ones as well), but also for some incomprehensible reasons (since not grounded in the mentioned invoices) he named him ‘Genu’, suggesting his descent from the Republic of Venice. The latter was, by no means, a fictitious personage, since at least as of 1727 until his death in 1769, there lived in Vilnius Abraham Antoni Genu (Żena, Genou). Finally, he turned out to have been a Frenchman. He participated in numerous celebrations of the Brotherhood of St Martin, which grouped German artists, craftsmen, and merchants living in Vilnius around the Church of the Jesuit Novitiate.  An affluent individual, he was buried in the Carmelite Church: his two tenement houses were located nearby. However, the only unknown is his profession. There are no such doubts with regard to another member of that Brotherhood Abraham Würtzner (Werthner), present in it from 1728, who died 30 years later. It is known that in 1741, an architect and a Vilnius citizen as well, he designed (unpreserved) brick stucco altars and the music gallery in the Corpus Christi Chapel in the Jesuit Church of St John. For the moment it is the only architect’s name recorded in the course of creating an impressive set of stucco altars inside the Church: a breakthrough artistic project in the art of the Vilnius of the day. Although Glaubitz, employed to renovate the Chapel of St Barbara (of the goldsmiths) and of the Annunciation of Our Lady had appeared there earlier (1739–1740), he was merely a ‘magister murarius’, working under architect’s supervision, and a stuccoist. The paper attempts at outlining the profile of the architect Abraham, possibly bearing the name of Würtzner (before 1700–1758).  Archival sources testify that he came from ‘Imperial Countries’. He most likely had a son Ignacy, an architect as well, but also a relative Johann, a goldsmith, who came to Vilnius from Lidzbark Warmiński  and died in 1757. Furthermore, the sources confirm the participation of the architect Abraham in the creation of the majority of works promoting the ideas of Borromini and Guarini,  previously attributed to Placidi, Glaubitz, or the ‘anonymous Italian architect’. Abraham thus authored  the unusual belfry of the Calced Carmelite Church of all Saints in Vilnius, the extension of the Carmelite Church in Głębokie; he raised the towers of the Łukiszki Dominican Church, and the genuine church of the Piarist College at Łużki near Głębokie (1742). Furthermore, he raised some edifices in Minsk and Nowogródek. Despite any direct references lacking with respect to definite projects, his genuine style allows to attribute to him the authorship of a number  of structures in Vilnius itself (façades of the Churches of the Visitation Nuns, the Franciscans, and of the Augustines), in Minsk (façades of the Dominican and Bernardine Churches, the tower in front of the Jesuit College), and Nowogródek (Uniate Church at the Castle?), as well as in the provinces, e.g., the Iwieniec Parish Church or the Zdzięcioł Palace of the Radziwiłłs (1729–1731?).  The assumed chronology of several of the above architectural works requires verification and specification, however, the collected material justifies the conclusion that next to Johann Christoph Glaubitz it was Abraham (Würtzner?) who played a leading role in the early period of the formation of ‘Vilnius Baroque’ in which the caesura was formed by the next fire in the city in 1749, and the inflow of new artists following it.
    Źródło:
    Biuletyn Historii Sztuki; 2021, 83, 3; 645-682
    0006-3967
    2719-4612
    Pojawia się w:
    Biuletyn Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Architectural images by Andrzej Bemer in early modern Lviv
    Architektoniczne obrazy Andrzeja Bemera w nowożytnym Lwowie
    Autorzy:
    Salata, Oksana Oleksiivna
    Stelmach, Bolesław
    Powiązania:
    https://bibliotekanauki.pl/articles/2171876.pdf
    Data publikacji:
    2022
    Wydawca:
    Stowarzyszenie Konserwatorów Zabytków
    Tematy:
    architectural heritage
    Andrzej Bemer
    early modern Lviv
    Late Renaissance
    Baroque
    Northern Mannerism
    dziedzictwo architektoniczne
    nowożytny Lwów
    późny renesans
    barok
    manieryzm północny
    Opis:
    The study of cultural and historical heritage is extremely important in today’s world. Many architectural monuments built by Polish, German and Italian builders and architects have been preserved in Ukraine. Many of them were built in the early modern period, marked by the active development of cities, including the growth of secular construction and ecclesiastical architecture. A special style and architectural forms were used by the little-known architect and sculptor Andrzej Bemer. He created unique complexes of secular and ecclesiastical architecture, which, in fact, became the hallmarks of Lviv. It is shown how the sculptural ensembles of the master were filled with new content, changing their own structural composition and forming a new architecture of the city. Early modern times were a period when Polish and Ukrainian architects and sculptors were seeking new forms. A number of architectural masterpieces presented by Ukrainian, Polish and German architects and builders are presented. Joint masterpieces of art are unique and should therefore be preserved for future generations.
    Badanie kulturowego i historycznego dziedzictwa jest bardzo ważne w obecnym świecie. Wiele zabytków architektonicznych zrealizowanych przez polskich, niemieckich i włoskich budowniczych i architektów zachowało się w Ukrainie. Większość z nich powstała w okresie nowożytnym, kiedy aktywny rozwój miast przyczynił się do budowy świeckiej i kościelnej architektury. Szczególny architektoniczny styl i formy były wykorzystywane przez mało znanego twórcę Andrzeja Bemera. Tworzył on unikalne zespoły świeckich i kościelnych budowli, które stały się wizytówkami Lwowa. Ukazano, jak rzeźbiarskie zespoły tego mistrza wypełniono nową treścią, zmieniając ich kompozycję strukturalną i tworząc nową architekturę miasta. Wczesna epoka nowożytna była okresem, kiedy polscy i ukraińscy architekci i rzeźbiarze poszukiwali nowych form. Przedstawiono kilka architektonicznych arcydzieł autorstwa ukraińskich, polskich i niemieckich architektów i budowniczych. Wspólne arcydzieła sztuki są unikalne i powinny być zachowane dla przyszłych pokoleń.
    Źródło:
    Wiadomości Konserwatorskie; 2022, 70; 28--33
    0860-2395
    2544-8870
    Pojawia się w:
    Wiadomości Konserwatorskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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