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    Wyświetlanie 1-5 z 5
    Tytuł:
    Hondius czy Schultz autorem studium portretowego Karola Ferdynanda Wazy?
    Is Hondius or Schultz the Author of the Portrait Study of Karol Ferdynand Vasa?
    Autorzy:
    Gajewski, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/1955785.pdf
    Data publikacji:
    1999
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    Standing face to face with a civil war and a danger of destabilisation of the country, King Jan Kazimierz decided that a change in his official iconography was so important that almost immediately after succeeding to the throne (1648) he reorganised his artistic court. In 1649 the outstanding portrait painter Daniel Schultz was employed and he was charged with the task of creating the image of the monarch that would be suitable for the requirements of the new authorities' propaganda and at the same time would meet the society's expectations. (It was for the same reasons that the great Roman sculptor Francesco Rossi was brought to Poland in 1651.) Of the former group of artists among others Willem Hondius was kept – as it turns out not a very able draughtsman, but a good copper engraver, who proved useful in his earlier works for the royal court, and now was indispensable for putting into effect Jan Kazimierz's propaganda aims. Analysing the portrait study of the King's brother, Karol Ferdynand Vasa (1650) from the collection of the National Museum in Gdańsk (Fig. 1), Gajewski finds in it both new principles of the art of portrait introduced into the official image by Daniel Schultz, and the artistic qualities characteristic of Schultz's painting (Fig. 2, 3). Gajewski challenges the proposition put forward in the literature of the subject saying that it is Hondius who is the author of the portrait study of Karol Ferdynand, and he claims that the author of the study is Schultz. He also thinks that the study is Schultz's drawing for the graphic portrait of Karol Ferdynand Vasa that was not used. The portrait was made (1650) by Hondius after another pattern by Daniel Schultz (Fig. 4).
    Źródło:
    Roczniki Humanistyczne; 1999, 47, 4; 181-192
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ekonomiczne aspekty wykorzystania energii pochodzącej z pomp ciepła oraz paneli solarnych
    Autorzy:
    Gajewski, Andrzej
    Szopa, Przemysław
    Czerniak, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/527066.pdf
    Data publikacji:
    2007
    Wydawca:
    Krakowska Akademia im. Andrzeja Frycza Modrzewskiego
    Źródło:
    Państwo i Społeczeństwo; 2007, 4; 147-153
    1643-8299
    2451-0858
    Pojawia się w:
    Państwo i Społeczeństwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Cztery figury w kościele św. Barbary w Krakowie
    Four Figures in the Cracow St Barbara Church
    Autorzy:
    Gajewski, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/1954601.pdf
    Data publikacji:
    2002
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    Pointing to the important role played by the Jesuit St Barbara church in organization of spiritual life in Cracow Gajewski draws the reader’s attention to the fact that modernizations of the church interior conducted in the third decade of the 18th century and in the years 1764- 1767 were correlated in time with periods of intensification of the cult of Cordis Jesu and with aspiration to enliven the cult of the Virgin Mary the Dolorous. Pronouncements by the Polish nation represented by its ruler (August II in 1726) and the hierarchy of the Polish Church (1726, 1765) that the cult of Cordis Jesu should be recognized by the Holy See were connected with it. Participation of Polish Jesuits in those actions was understood and justified, as it was closely connected with the problems dealt with in writings by our Jesuit ascetic-mystic teologians as well as in Rev. Kasper Drużbicki’s works, precursory in the European scale. Gajewski links the modernization of St Barbara church conducted in the twenties of the 18th century (among others, the Jesuit sculptor Dawid Heel’s works) with sculpting (after 1726; probably around 1729-1731) four figures: of St Anna, St Joachim, St John the Baptist and John the Evangelist. Up till now in the subject literature the figures were dated to 1764-1767. Gajewski recognizes Johann Elias Hoffman, a sculptor coming from Vienna, and his younger brother Heinrich co-operating with him, as the ones who are the authors of the figures and of the sculptured decoration of the altar (that has not been preserved to our times) of the Virgin Mary the Dolorous. Johann Elial Hoffman, an artist using a distingushed, classicizing style that was based on the Italianized Vienna sculpture and probably the sculpture of the Veneto region, worked in Poland from 1721 until his death in 1751 (he died in Puławy near Lublin). Gajewski explains the lower standard of the sculptures representing St Joachim, St John the Baptist and St John the Evangelist with participation of the younger Hoffmann – Heinrich in their realization; Heinrich was less talented and his preparation for the job was worse. In conclusion Gajewski draws the reader’s attention to the mechanisms that rule Cracow’s art market and hypothetically points to the significant participation of the townspeople factor in organizing and functioning of the market for orders.
    Źródło:
    Roczniki Humanistyczne; 2002, 50, 4 Special Issue; 425-447
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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