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    Wyświetlanie 1-6 z 6
    Tytuł:
    „Niech przyjdzie tutaj Witruwiusz ze wszystkimi swoimi następcami”. Kilka uwag na temat kościoła i kolegium jezuitów w Ostrogu
    “Let Vitriuvius Come Here with all His Successors”. Several Remarks on the Church and the College of Jesuits in Ostróg
    Autorzy:
    Betlej, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/1953445.pdf
    Data publikacji:
    2006
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    archiwum
    architekci
    artyści
    ikonografia
    kolegium jezuickie
    archives
    architects
    artists
    iconography
    Jesuit college
    Opis:
    The paper deals with the Jesuit church and college in Ostróg erected from the foundation of Anna Alojza Chodkiewiczowa in the years of 1629-1653. It analyses the earlier projects of this building, together with those that are presented for the first time here. They are stored in the collections of the Paris National Library and the Getty Research Institute, as well as the sources from the Archivum Romanum Societatis Jesu. In the light of the iconographic sources and archives, the chronology of the Ostróg complex has been made precise, above all some proposals as to its authorship have been put forward. The Jesuit church and college in Ostróg were a “common work” of two religious architects: Giacomo Briano and Benedetto Mollego. Contrary to what we have learnt so far from literature, it was Briano who considerably contributed to the preparation of the project. His participation in the temple's project was almost dominating, and the role of Molle might be defined as supervising the course of construction. The work can be described as a creation of clearly north Italian stylistic references, typical of Giacomo Briano from Modena. This artist continued the work of the artists from the last quarter of the fourteenth century, mainly Pellegrino Tibaldi.
    Źródło:
    Roczniki Humanistyczne; 2006, 54, 4; 189-224
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Koronacja obrazu Matki Boskiej Pocieszenia w kościele Jezuitów we Lwowie w 1905 roku
    The 1905 coronation of the icon of Our Lady of Consolation in the Jesuit Church in Lviv
    Autorzy:
    Betlej, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/2082098.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    20th Century religious ceremonies
    20th Century occasional decorations
    Marian iconography
    cult of the images
    cult image
    20th Century Polish culture
    Opis:
    The article discusses the artistic setting of the largest religious ceremony of the beginning of the 20th century, the coronation of the icon of Our Lady of Consolation in the Church of St. Peter and Paul in Lviv. The painting itself was considered to be one of the palladiums of the city, as in 1656, during the Swedish Deluge, the papal nuncio Vidoni first uttered the call to the “Queen of the Polish Crown” in front of this Marian image, in the presence of King Jan Kazimierz and the court. In 1904, on the occasion of the jubilee of the announcement of the Dogma of the Immaculate Conception of the Blessed Virgin Mary, the Mar- ian Congress took place in Lviv, and in that same year the decision was made to create new crowns for the painting of the Mother of God and Baby Jesus. A committee, composed of representatives from the aristocracy and bourgeoisie of the city, was set up to raise the appropriate funds, and the then Archbishop of Lviv, Józef Bilczewski, was asked to perform the solemn coronation. An artistic and technical committee was also established, which included the architect Teodor Talowski (chairman), Antoni Popiel, Andrzej Romaszkan, Tadeusz Czapelski and Karol Richtmann, who made the decision to transform the altar where the painting was placed and to convert the area of the church bay into a distinct chapel. The works were led by Karol Richtmann, the altar was renovated by the painter Karol Domański, and the new bronze antependium was designed by Antoni Popiel. The bolt with the depiction of Our Lady of the Immaculate Conception was made by the sculptor Piotr Wójtowicz. The icon of the Virgin Mary itself was restored by Henryk Kühn. The chapel vault was decorated with paintings by Tadeusz Popiel, and its space was separated from the rest of the church by a grid made according to a project by Alfred Zachariewicz. Antoni Popiel designed golden crowns and a new dress for the figures of the Mother of God and Baby Jesus, made by the goldsmith and jeweller Jan Wojtych. The Committee also commissioned new stained glass windows for the chapel from the Kraków workshop of Stanisław Ekielski and Antoni Tuch. The main work was completed in July 1905. On 12 February 1905, a coronation decree was issued in Rome, and Archbishop Bilczewski was appointed to perform the coronation act. On 28 April 1905, another decree was issued recognizing the antiquity and miraculousness of the painting, and the ceremony was sched- uled for 28th May. The church façade, side elevation and interior were decorated extensively, while the focal point was prepared for receiving the painting – “The Gothic golden throne with motifs from the tomb of Kazimierz the Great”. The decorations were designed by Stanisław Jasieński, a re- nowned painter and theatre decorator of the time. The streets and squares which the coronation procession went through were also adorned. The ceremony was very carefully planned and directed; it was attended by the clergy of the three Christian rites, local authorities and representatives of all social strata. When analyzing the coronation ceremonies, it is important to underline their considerable reliance on the schemes of corona- tions of Marian images which took place on Polish territory in the 18th century. The tradition of the last Marian coronation, of a painting from the Dominican Church in Lviv in 1751, was strongly referred to and accentuated in occasional prints that accompanied this solemn act. The reference to old Polish coronations can be seen in numerous occasional prints, in reporting on the course of the ceremony, as well as in the extensive de- scriptions and texts of sermons published. This ceremony had an exceptional social and national dimension, as it was the first such coronation in the former Polish lands since the loss of independence, and the most important ceremony before the outbreak of the First World War. Not without significance in this context was the underlined similarity of forms between the coronation throne and the canopy over the tombstone of Kazimierz the Great in the Kraków Cathedral, or the calling of one crown as Kazimierzowska and the other Jagiellońska. The new artistic remodeling of the Chapel of Our Lady in the Jesuit Church was a prelude to the renovation of the remaining altars in the church. The coronation ceremony and the restoration of the chapel gathered together the most important artists of the early 19th century working for the Church patronage in the capital of Galicia. The chapel designed by Teodor Talowski successfully combines an 18th -century retabulum with paintings by Tadeusz Popiel, being probably the last example of a true Baroque bel composto.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 163-170
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kilka uwag na temat kościoła jezuitów w Przemyślu w XVII wieku
    A Few Remarks on the Jesuit Church in Przemyśl in the 17th Century
    Autorzy:
    Betlej, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/1954593.pdf
    Data publikacji:
    2002
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    A separate monographic study has never been devoted to the Jesuit church and college in Przemyśl. The present text was written as a sort of by-product while preparing a broader study of the Przemyśl church and monastery in the 17th and 18th centuries and a monograph of Giacomo Briano’s work; it only points to three aspects of that complex: the state of research, the history of the construction in the 17th century and the preserved designs by Giacomo Briano. Studies devoted to the construction of the Jesuit church in Przemyśl conducted up till now are scarce. The history of the church’s construction has not been presented in detail as yet; also the question of who designed the building has not been presented clearly. In literature the names of Vincenzo Petrini, Giacomo Briano and Jakub Solari may be encountered. Construction of the Przemyśl church was started in 1621. In the next year bringing stone was started for building the new abode. In 1626 Anna Uliń ska née Tyrawska offered 90 thousand zloty for building the college and another 12 thousand zloty for building the church. One year later the corner stone of the church foundation was blessed and at the same time from 1627 the wooden building of the college was constructed and it was finished in 1634. We do not have certain information about the further history of the church construction until 1641 when “at the gate of St Ignatius Church” King Władysław IV was greeted when he visited Przemyśl. In 1642 Stanisław Świerzyń ski presented the monks with his tenement house to be used by them as the boarding house. The Przemyśl residence gained the rank of college in 1647 and Anna Uliń ska née Tyrawska was declared its founder. The very college “did not take form” then, because “the church was being built with great effort and a lot of means”, and next construction of the school buildings was planned. In 1651 Ulińska in her last will gave 50 thousand zloty for “building a stone church”; moreover, she bequeathed all her movables and jewels to this aim. The church and college survived both Chmielnicki’s incursion and the Swedish ‘deluge’. The next news concerning the construction comes from 1661 when it was noted that “the portico of the college with the corridor to the church were built to the foundations”. In 1664 the construction was completed in its basic part and the monks began furnishing the church. The works were completed in 1671. Construction of the stone college was started in 1679 and finished in 1683. The church was consecrated in 1684. The designs connected with the Jesuit church in Przemyśl whose author was Giacomo Briano date from 1622 and were made during his stay in the Castiglione college. Now they are kept in the collections of Bibliotheque National in Paris. The ‘Paris’ complex consists of the front page and three sheets on which the plan of the plot, the projection of the ground floor and the projections of the second floor of the church together with the college are drawn. Both on the drawings of the projections and on the verso sides of the sheets the artist in two columns presented explanations for the design referring to the letters and numbers written on particular parts of the complex. The designed complex was to consist of the church adjoined by the school buildings on the east side and by the college building from the west and south. The church was to be a basilica with chapels added on the sides, with a nave and two aisles, galleries, a transept and a short presbytery. The crossing of the nave and transept was accented with a dome. In special collections of The Getty Research Institute in Los Angeles, in Santa Monica there are three more designs for the Przemyśl complex. However, the drawings were not made on the same kind of paper and they do not have identical dimensions and watermarks as the drawings from the ‘Paris’ collection. The ‘American’ part of the design is complementary to the Przemyśl design, but also it is a kind of ‘ideal’ version, probably worked out for a second time, as some slight differences can be seen in the way some elements of the building are elaborated: the walls articulation in the presbytery and on the facade. The complex in The Getty Institute consists of three sheets – on the recto sides Briano presented the view of the front elevation of the church and college, the longitudinal and crosssections of both buildings; the verso sides are taken up by a text in two columns. The complexes in the USA and France are not a complementary whole, as differences can be seen in the way they are worked out; also the descriptions in both complexes do not correspond to each other. Unfortunately the projects were not realized, however, it may be assumed that initially work on the construction of the church was carried on according to Briano’s design. First of all the location of the present church points to this; it is built precisely in the same place where the walls of Briano’s church walls were. It is also proven by archival materials concerning the work conducted in the years 1627-1641; whereas Jakub Solari appears in Przemyśl as architect only at the end of the forties, and as the builder of the Jesuit church he is for the first time mentioned in Uliń ska’s testament in 1651.
    Źródło:
    Roczniki Humanistyczne; 2002, 50, 4 Special Issue; 301-321
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Badania sztuki ziem wschodnich dawnej Rzeczypospolitej po 1989 roku
    Post 1989 research on the art of the eastern territories of the former Polish-Lithuanian Commonwealth
    Autorzy:
    Betlej, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/707047.pdf
    Data publikacji:
    2012
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Ukraine
    Ruthenia
    Podolia
    Eastern Europe
    art history
    Ukraina
    Litwa
    Podole
    Europa Wschodnia
    historia sztuki
    Opis:
    In this paper the author outlines and describes the proposals and dynamics of research on the art of the eastern territories of the former Commonwealth conducted after 1989 – namely Red Ruthenia and Podolia, the lands lost by Poland in 1945 to the USSR (and now within the limits of Ukraine). Two academic centres dominated in this field: the Institute of Art History of the Jagiellonian University in Cracow and Warsaw’s Institute of Art of the Polish Academy of Sciences and Cardinal Stefan Wyszyński University. Extensive inventory work undertaken from 1992 resulted in the monumental publication “Materials for the History of Religious Art in the former Eastern Territories” (ed. by Jan Ostrowski) including a monographic study of Roman Catholic churches and monasteries in the former Ruthenian, Novogrodek and Vilnius Voivodeships. The magnitude of this multi-volume publication can only be compared to the monumental “Geographical Dictionary of the Kingdom of Poland”, published a century earlier. The present article also includes projects undertaken by other academic centres (primarily inventory work of sepulchral art, as well as numerous other publications, maliny conference proceedings). The role of material research in the field of “first art history” has proven to be very inspiring. Eastern studies have led to many spectacular discoveries and introduced new scholarly material, significantly contributing to the knowledge of Polish art history - mainly in modern art, but also applicable to the artistic heritage of the 19th century and the inter-war period, particularly architecture. An important consequence of the “eastern” inventory work is the training of a new set of art historians (a whole generation even), specialized in the field of inventory and archival research.
    Źródło:
    Rocznik Historii Sztuki; 2012, 37; 83-91
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jakub Labinger – wstępne uwagi na temat jego œuvre
    Jakub Labinger: Some Preliminary Remarks on His Œuvre
    Autorzy:
    Betlej, Andrzej
    Fertsch, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/1787931.pdf
    Data publikacji:
    2021-05-10
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Lwów
    środowisko artystyczne
    XVIII wiek
    produkcja graficzna
    ikonografia
    wzorce artystyczne
    Jakub Labinger
    rytownicy
    Lviv
    artistic milieu
    18th century
    graphic production
    iconography
    artistic patterns
    engravers
    Opis:
    Artykuł prezentuje dorobek rytownika Jakuba Labingera, aktywnego w Krakowie, Warszawie i we Lwowie między około 1726 a 1767 r. Przedstawiony został między innymi na nowo zestawiony katalog prac artysty, znacznie rozbudowany w stosunku do dotychczas funkcjonującego w literaturze naukowej. Z sztycharzem można związać blisko 90 rycin, co czyni go główną, po Janie Józefie Filipowiczu, postacią lwowskiego środowiska artystycznego. W artykule zostały wskazane najważniejsze obszary aktywności Labingera z podkreśleniem faktu, że realizował on głównie zamówienia od zleceniodawców zakonnych. Osobno została potraktowania kwestia kopiowania wzorców zachodnioeuropejskich, głównie augsburskich.
    This article presents the output of Jakub Labinger, an engraver who was active in Kraków, Warsaw and Lviv between 1726 and 1767. Among other things, the article presents a re-compiled catalogue of the artist’s works, now significantly expanded in comparison to that which was previously used in academic literature. Nearly 90 engravings can now be attributed to Labinger, which makes him the main figure, after Jan Józef Filipowicz, of the Lviv artistic community. This article discusses the main areas of Labinger’s activity, emphasising the fact that he mainly received commissions from religious orders. The issue of his copying of patterns used in Western Europe (mainly in Augsburg) is addressed separately.
    Źródło:
    Roczniki Humanistyczne; 2021, 69, 4; 199-228
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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