Temat: franciscans - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Cztery pytania Józefa Dutkiewicza, czyli o restauracjach malowideł autorstwa Stanisława Wyspiańskiego w kościele oo. Franciszkanów w Krakowie
Józef Dutkiewicz’s four questions, or about the restoration of paintings by Stanisław Wyspiański in the Church of St Francis of Assisi in Kraków
Autorzy:: Bogdanowska, Monika
Powiązania:: https://bibliotekanauki.pl/articles/21150983.pdf
Data publikacji:: 2022
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: Stanisław Wyspiański
Józef Dutkiewicz
malowidła ścienne
restauracja
franciszkanie
Kraków
wall paintings
restoration
Franciscans
Cracow
Opis:: Od czasu powstania w 1895 roku polichromie Stanisława Wyspiańskiego w kościele oo. Franciszkanów w Krakowie były trzykrotnie poddawane pracom restauratorskim. Ostateczny efekt zawsze budził uznanie specjalistów, a dzieło było przedmiotem podziwu wiernych. Jednak wygląd czterech scen figuralnych po ostatniej restauracji prowadzonej w roku 2021 spotkał się ze zmasowaną krytyką. Budzące kontrowersje sceny na filarach międzyokiennych prezbiterium przedstawiają św. Michała Archanioła i Upadek zbuntowanych aniołów (ściana północna) oraz Caritas i Matkę Boską z Dzieciątkiem (ściana południowa). Niniejszy artykuł koncentruje się na wyjaśnieniu, kiedy i dlaczego malowidła ulegały przekształceniom. Podstawą opracowania są dokumentacje konserwatorskie, ale przede wszystkim szczegółowa analiza historycznych zdjęć.
Since their completion in 1895, Stanisław Wyspiański’s polychrome decoration in the Church of St Francis Assisi has undergone restoration work three times. The final result has always been acclaimed by specialists, and the work itself has been an object of admiration by the faithful. However the appearance of the four figural scenes following the latest restoration work conducted in 2021 was met with a great deal of criticism from everyone. The scenes on the pillars between the windows in the chancel depicting St Michael the Archangel and Fall of the Angels (north wall) and Caritas and Virgin and Child (south wall) gave rise to much controversy. This article focuses on explaining – basing on conservation documentation, and above all, on a detail analysis of historical photographs – when and why the paintings underwent transformations.
Źródło:: Ochrona Zabytków; 2022, 2; 39-55
0029-8247
2956-6606
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Obrazy wizji św. Bonawentury i św. Franciszka z Asyżu (1. poł. XVIII w.) z klasztoru Franciszkanów reformatów w Przemyślu. Nowe rozpoznanie ikonograficzne
Images of the vision of St. Bonaventure and St. Francis of Assisi (1st half of the 18th c.) from the Reformed Franciscan monastery in Przemyśl. New iconographic recognition
Autorzy:: Dzik, Janina
Powiązania:: https://bibliotekanauki.pl/articles/539315.pdf
Data publikacji:: 2015
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: Przemyśl
Biecz
Wieliczka
Kęty
Pińczów
Kraków
Św. Anna k. Przyrowa
Kazimierz Dolny
franciszkanie reformaci
św. Franciszek z Asyżu – ikonografia
św. Bonawentura – ikonografia
Giovanni Francesco Barbieri zwany Guercino
Antoni van Dyck
Św. Anna near Przyrów
Reformed Franciscans
St. Francis of Assisi – iconography
St. Bonaventure – iconography
Giovanni Francesco Barbieri called Guercino
Opis:: The conservation of two, late Baroque, semi-circularly closed images of nearly identical size, located in the Reformed Franciscan monastery of St. Anthony in Przemyśl, which were thought to present the Communion of Saint Francis and the Veneration of the Cross by Saint Francis, brought about interesting outcomes. It turned out that the images were previously interpreted mistakenly, as they actually present the Communion of Saint Bonaventure and the vision of Saint Francis in Vicalvi (Vision of an angel with an ampoule), typical of the Franciscan post- Trent iconography. The pattern for the image Communion of Saint Bonaventure in the Przemyśl monastery was an engraved reproduction of a painting by A. van Dyck, which was to be created by Pieter Bailliu, an engraver from Antwerp (Balliu; around 1613- after 1660). The creation referred to the Last Communion of Saint Francis by Rubens. According to Carl Justi, the main idea of the presentation was a feeling of humility and a particular dignity of Saint Bonaventure towards the Blessed Sacrament. As a young monk, he attended a mass, but felt too unworthy to receive Holy Communion every day. During the mass, an angel appeared who, after taking a particle of a Host from the hands of a priest celebrating the mass, put it into Bonaventura’s mouth, so that “he knew that it was better to receive the Eucharist with love than to refrain from it for fear”. That pattern was common in Reformed Franciscan churches. The Communion of Saint Bonaventure was created to decorate the sacristy of the church in Pińczów (signature A. N. W. and the date 1717) and as a modello stored in the monastery in Kraków for an uncreated altar picture or sacristy decoration. That scene is also presented in the sacristy of the former Bernardine (now Dominican) church in Św. Anna near Przyrów. The second picture, Vision of an angel with an ampoule, was a reproduction of an engravery by Giovanni Francesco Barbieri called Guercino, presenting the vision of Saint Francis of Vicalvi, referred to as Vision of priestly dignity. The composition, popularized by, among others, the engraveries by Giovanni Battista Pasqualini (1630), was a pattern for painted decorations in the sacristies of Reformed churches in Pińczów, Wieliczka, Kęty and Biecz. According to Raffaell Colace in the article San Francesco e l’angelo con l’ampolla, the image of the saint by Guercino can be interpreted in two ways. On the one hand, in the context of underlining the humility of the saint who considered himself unworthy of being a priest and, on the other hand – the “spotlessness” of priesthood, the value particularly emphasized by the Catholic doctrine after the Council of Trent. The discussed pictures are a typical element of equipment of the sacristies of Reformed churches in the former Lesser Poland province. They were probably connected with the function of that place, in which the liturgical celebration was prepared. It can be presumed that, in the past, the pictures could have been the equipment of the sacristy of the Przemyśl church. It seems to be confirmed by the archival files kept at Reformed Franciscan Province Archives from the 19th century, reporting “great images over the mensa in the sacristy”. The images, created by a local guild artist or an artist from the Order do not manifest significant artistic values. However, they are interesting from the point of view of iconographic values, as a reproduction – through graphic patterns – of renowned works of Guercino and van Dyck, who are among the greatest European painters. Presenting both legendary events from the life of the patriarch of the Order and the main theorist of Franciscan thought was supposed to emphasize the new, post-Trent form of devotion – veneration of Eucharistic Christ and an exceptional dignity of celebrating the Holy Mass. Perhaps the humble attitude of the monks had a moralizing significance in a form of an example for the priesthood in the Reformed Franciscan order. Thus, the presentations are of high historical and cultural importance for the research on the history of the order.
Źródło:: Ochrona Zabytków; 2015, 1; 153-166
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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