Katarzyna Wardzyńska - Academia.edu (original) (raw)

Papers by Katarzyna Wardzyńska

Porta Aurea : rocznik Zakładu Historii Sztuki Uniwersytetu Gdańskiego. T. 13 (2014), s. 136-159, 2014

Splendor i fantazja. Studia nad rzeźbą rokokową w dawnej Rzeczypospolitej i na Śląsku, pod red. Pawła Migasiewicza, Warszawa 2012, s. 139-194

Ephraim Gerlach, a Late Baroque and Rococo Sculptor from Chełmno Ephraim Gerlach of Chełmno wa... more Ephraim Gerlach, a Late Baroque and Rococo Sculptor from Chełmno

Ephraim Gerlach of Chełmno was the first Rococo sculptor active on the territory of the former Chełmno Voivodeship and the entire Royal Prussia, whose extensive output forms the subject of an in-depth and comprehensive study. So far, the artist has only been known for one produc¬tion, realized in the northern part of Greater Poland [Pol.: Wielkopolska], namely his Rococo décor of the church in Sadki near Nakło on the River Noteć, created in 1758–1767. Although born in Chełmno, Gerlach was wrongly associated with the Chojnice centre. He has been omitted altogether in contexts referring to research on sculpture extant in the Chełmno Land. Baroque sculpture, including Rococo productions preserved in the region mainly in the form of church décors, has been given little attention in studies and has often remained anonymous and undated.
The sculptor was probably born to a local bourgeois family in ca. 1710–1720 and died pre¬sumably shortly after 1773. A hypothesis has been put forward that he acquired his craft in the workshop of the local sculptor master Carl Eglauer (noted in 1728–1733) and completed his apprenticeship in the workshop of the so-called “Master of Koronów”. In ca. 1741 Gerlach launched his independent, intensive artistic activity. From 1749 onwards, his creations began to reveal stylistic touches of his associates, especially one of his apprentices, noted for a distinc¬tive style (possibly named G[rzegorz?] Skórzewski or Fr[anciszek] Wabczewski). Research of archival sources preserved in the city of Chełmno, carried out by Marek G. Zieliński and Bartłomiej Łyczak, revealed that by 1755 Gerlach had become a wealthy citizen of the city and a proprietor of two houses, while in 1758 and in 1768–69 he held the office of a town councillor.
Quality execution of décor inside the church in Sadki, the type of figures and ornamenta¬tion applied and the models used for the structure of altars, pulpit, baptismal font and the rood beam – all make it possible to identify with a high degree of certainty numerous of Ephraim Gerlach’s other productions, created over a timespan of at least thirty years in the 18th century in the Chełmno Land and in Krajna (situated in the northern part of Greater Poland). The article discusses elements of décor inside 28 churches, which translate into the total of around 120 works. The archival research resulted in finding confirmation of Gerlach’s authorship of the 1769 décor of Saint Barbara’s church in Lubawa. Moreover, in many cases the research led to a precise dating of specific productions and also to obtaining evidence for his execution of a number of other wood-carved sets of sculptures in Chełmno.
Gerlach’s most important commissioners were Chełmno-based Franciscan and Dominican monasteries, the Lazarists administrating the main parish church in the city and the Benedic¬tine convent. The artist was also employed by Wojciech Leski, the Bishop of Chełmno. For smaller parish churches his workshop repeated simple models of side structures. On the territory of the Kamień archdiaconate in the Gniezno archdiocese the décor of parish and monastic churches was frequently founded by representatives of the local nobility. A significant part of Gerlach’s output consists in décors of churches forming part of the Cistercian abbey in Ko¬ronowo, situated on the territory of the Fordon decanate of the Włocławek diocese. The first commission placed by the Koronowo-based Cistercians mentioned in written sources was the quality sculpted decoration of the organ case inside their own church, which ought to be con¬sidered Gerlach’s early work, possibly from the 1740s. It seems reasonable to suspect that prior to launching his individual artistic activity, the sculptor had gained practice as an apprentice in the same workshop (identified as the workshop of the “Master of Koronowo”), which completed the decoration of the Koronowo church high altar in 1736. It was during his apprenticeship that Gerlach adopted a set of distinctive artistic solutions, such as the baldachin with curtains crowning retables, the star-filled globe placed on roofs of baptismal font pulpits or the crowning parts of retables and the typical statues of angels.
The acquired set of features, traceable in Gerlach’s works created from ca. 1741 onwards, ought to be defined as the regency style. The contemporarily applied ornamentations include regency ribbon-acanthus motifs, with a frequently used motif of a shell. From the 1740s to the 1770s Gerlach uses a set of graphic patterns for altar structures imported from Augsburg, as exemplified by the following sets: Unterschiedliche Neu Inventierte Altäre, mit dazu gehörigen Profillen und Grundrissen (ca. 1718–1730) by Johann Michael Leuchte (Leichte), Ganz Neue Inventionen von Altären und schöne Canzlein (ca. 1715–1738) by Johann Andreas Bergmüller, 6 Tabernacles diverses (ca. 1720–1730) by Johann Jakob Schübler and perhaps a print by Chris¬tian Friedrich Rudolph. The completion of the Sadki church project in 1758 marks the turning point in Gerlach’s artistic activity, connected with his acquisition of a new set of graphic Rococo motifs by Franz Xavier Habermann, another mast er of pattern graphic arts from Augsburg.
Significant models inspiring Gerlach’s work were also older productions, which he had known from the territory of the Chełmno diocese, such as: the “obelisque” side altars in the Jesuit church in Grudziądz, possibly created by Johann Anton Krause from Gdańsk (ca. 1721); the chancel-arch altars in the Saint Mary’s church of the Observant monastery in Toruń, made by the Warsaw sculptor Bartłomiej Michał Bernatowicz in ca. 1728; the church high altar ex¬ecuted in 1730 after the concept of the Malbork dean, Father Franciszek Barnicki; the Holy Cross altar designed in 1744 by Giovanni Battista Cocchi for the Chełmża cathedral after a model drawn by Filippo Juvarra in Piedmont.
Due to a large number and a high artistic class of Ephraim Gerlach’s identified works, which to a large extent reshaped the character of churches located in the Chełmno Land and Krajna in the second half of the 18th century, it is justifiable to rate his workshop among the best woodcarv¬ing centres active in the then Royal Prussia, alongside ateliers of artists such as Johann Heinrich Meissner, Christoph Perwanger and Christian Bernhard Schmidt.

Serce miasta. Kościół Świętego Krzyża w Warszawie, red. Kazimierz Sztarbałło i Michał Wardzyński, Warszawa 2010, s. 160-191

Serce miasta. Kościół Świętego Krzyża w Warszawie, red. Kazimierz Sztarbałło i Michał Wardzyński, Warszawa 2010, s. 192-197

Serce miasta. Kościół Świętego Krzyża w Warszawie, red. Kazimierz Sztarbałło i Michał Wardzyński, Warszawa 2010, s. 202-207

Polska i Europa w dobie nowożytnej / L’Europe moderne: nouveau monde, nouvelle civilisation? / Modern Europe – New World, New Civilisation? Księga Pamiątkowa dedykowana Profesorowi Juliuszowi A. Chrościckiemu, pod red. Andrzeja Rottermunda i in., Warszawa, 2009

Dzieje i skarby kościoła Świętojakubskiego w Toruniu. Materiały z IV Sesji Naukowej Toruńskiego Oddziału Stowarzyszenia Historyków Sztuki z cyklu „Dzieje i skarby kościołów toruńskich", 26-28 października 2009 roku, red. Katarzyna Kluczwajd, Toruń 2010, s. 311-345

Non cesso gratias agere Deo et hominibus. Prace ofiarowane Ojcu dr. Anzelmowi Szteinke OFM z okazji Złotego Jubileuszu Kapłaństwa i ponad 50-lecia pracy historyczno-pisarskiej, red. Wacław Marian Michalczyk OFM, Celestyn Mieczysław Paczkowski OFM, Kraków-Warszawa 2013, s. 913-938

WarszaWa nieznane nastaWy W Kościołach reforMatóW W choczu i dzierzgoniu z 1. ćW. XViii W.

Heart of the City. The Church of the Holy Cross in Warsaw, eds. Kazimierz Sztarbałło and Michał Wardzyński, Warsaw 2011, pp. 168-199

Heart of the City. The Church of the Holy Cross in Warsaw, eds. Kazimierz Sztarbałło and Michał Wardzyński, Warsaw 2011, pp. 200-205

Heart of the City. The Church of the Holy Cross in Warsaw, eds. Kazimierz Sztarbałło and Michał Wardzyński, Warsaw 2011, pp. 206-209

Heart of the City. The Church of the Holy Cross in Warsaw, eds. Kazimierz Sztarbałło and Michał Wardzyński, Warsaw 2011, pp. 210-215,

Artyści włoscy w Polsce, XV-XVIII wiek, red. Juliusz A. Chrościcki i Renata Sulewska, Warszawa 2004, s. 621-642

Porta Aurea : rocznik Zakładu Historii Sztuki Uniwersytetu Gdańskiego. T. 13 (2014), s. 136-159, 2014

Splendor i fantazja. Studia nad rzeźbą rokokową w dawnej Rzeczypospolitej i na Śląsku, pod red. Pawła Migasiewicza, Warszawa 2012, s. 139-194

Ephraim Gerlach, a Late Baroque and Rococo Sculptor from Chełmno Ephraim Gerlach of Chełmno wa... more Ephraim Gerlach, a Late Baroque and Rococo Sculptor from Chełmno

Ephraim Gerlach of Chełmno was the first Rococo sculptor active on the territory of the former Chełmno Voivodeship and the entire Royal Prussia, whose extensive output forms the subject of an in-depth and comprehensive study. So far, the artist has only been known for one produc¬tion, realized in the northern part of Greater Poland [Pol.: Wielkopolska], namely his Rococo décor of the church in Sadki near Nakło on the River Noteć, created in 1758–1767. Although born in Chełmno, Gerlach was wrongly associated with the Chojnice centre. He has been omitted altogether in contexts referring to research on sculpture extant in the Chełmno Land. Baroque sculpture, including Rococo productions preserved in the region mainly in the form of church décors, has been given little attention in studies and has often remained anonymous and undated.
The sculptor was probably born to a local bourgeois family in ca. 1710–1720 and died pre¬sumably shortly after 1773. A hypothesis has been put forward that he acquired his craft in the workshop of the local sculptor master Carl Eglauer (noted in 1728–1733) and completed his apprenticeship in the workshop of the so-called “Master of Koronów”. In ca. 1741 Gerlach launched his independent, intensive artistic activity. From 1749 onwards, his creations began to reveal stylistic touches of his associates, especially one of his apprentices, noted for a distinc¬tive style (possibly named G[rzegorz?] Skórzewski or Fr[anciszek] Wabczewski). Research of archival sources preserved in the city of Chełmno, carried out by Marek G. Zieliński and Bartłomiej Łyczak, revealed that by 1755 Gerlach had become a wealthy citizen of the city and a proprietor of two houses, while in 1758 and in 1768–69 he held the office of a town councillor.
Quality execution of décor inside the church in Sadki, the type of figures and ornamenta¬tion applied and the models used for the structure of altars, pulpit, baptismal font and the rood beam – all make it possible to identify with a high degree of certainty numerous of Ephraim Gerlach’s other productions, created over a timespan of at least thirty years in the 18th century in the Chełmno Land and in Krajna (situated in the northern part of Greater Poland). The article discusses elements of décor inside 28 churches, which translate into the total of around 120 works. The archival research resulted in finding confirmation of Gerlach’s authorship of the 1769 décor of Saint Barbara’s church in Lubawa. Moreover, in many cases the research led to a precise dating of specific productions and also to obtaining evidence for his execution of a number of other wood-carved sets of sculptures in Chełmno.
Gerlach’s most important commissioners were Chełmno-based Franciscan and Dominican monasteries, the Lazarists administrating the main parish church in the city and the Benedic¬tine convent. The artist was also employed by Wojciech Leski, the Bishop of Chełmno. For smaller parish churches his workshop repeated simple models of side structures. On the territory of the Kamień archdiaconate in the Gniezno archdiocese the décor of parish and monastic churches was frequently founded by representatives of the local nobility. A significant part of Gerlach’s output consists in décors of churches forming part of the Cistercian abbey in Ko¬ronowo, situated on the territory of the Fordon decanate of the Włocławek diocese. The first commission placed by the Koronowo-based Cistercians mentioned in written sources was the quality sculpted decoration of the organ case inside their own church, which ought to be con¬sidered Gerlach’s early work, possibly from the 1740s. It seems reasonable to suspect that prior to launching his individual artistic activity, the sculptor had gained practice as an apprentice in the same workshop (identified as the workshop of the “Master of Koronowo”), which completed the decoration of the Koronowo church high altar in 1736. It was during his apprenticeship that Gerlach adopted a set of distinctive artistic solutions, such as the baldachin with curtains crowning retables, the star-filled globe placed on roofs of baptismal font pulpits or the crowning parts of retables and the typical statues of angels.
The acquired set of features, traceable in Gerlach’s works created from ca. 1741 onwards, ought to be defined as the regency style. The contemporarily applied ornamentations include regency ribbon-acanthus motifs, with a frequently used motif of a shell. From the 1740s to the 1770s Gerlach uses a set of graphic patterns for altar structures imported from Augsburg, as exemplified by the following sets: Unterschiedliche Neu Inventierte Altäre, mit dazu gehörigen Profillen und Grundrissen (ca. 1718–1730) by Johann Michael Leuchte (Leichte), Ganz Neue Inventionen von Altären und schöne Canzlein (ca. 1715–1738) by Johann Andreas Bergmüller, 6 Tabernacles diverses (ca. 1720–1730) by Johann Jakob Schübler and perhaps a print by Chris¬tian Friedrich Rudolph. The completion of the Sadki church project in 1758 marks the turning point in Gerlach’s artistic activity, connected with his acquisition of a new set of graphic Rococo motifs by Franz Xavier Habermann, another mast er of pattern graphic arts from Augsburg.
Significant models inspiring Gerlach’s work were also older productions, which he had known from the territory of the Chełmno diocese, such as: the “obelisque” side altars in the Jesuit church in Grudziądz, possibly created by Johann Anton Krause from Gdańsk (ca. 1721); the chancel-arch altars in the Saint Mary’s church of the Observant monastery in Toruń, made by the Warsaw sculptor Bartłomiej Michał Bernatowicz in ca. 1728; the church high altar ex¬ecuted in 1730 after the concept of the Malbork dean, Father Franciszek Barnicki; the Holy Cross altar designed in 1744 by Giovanni Battista Cocchi for the Chełmża cathedral after a model drawn by Filippo Juvarra in Piedmont.
Due to a large number and a high artistic class of Ephraim Gerlach’s identified works, which to a large extent reshaped the character of churches located in the Chełmno Land and Krajna in the second half of the 18th century, it is justifiable to rate his workshop among the best woodcarv¬ing centres active in the then Royal Prussia, alongside ateliers of artists such as Johann Heinrich Meissner, Christoph Perwanger and Christian Bernhard Schmidt.

Serce miasta. Kościół Świętego Krzyża w Warszawie, red. Kazimierz Sztarbałło i Michał Wardzyński, Warszawa 2010, s. 160-191

Serce miasta. Kościół Świętego Krzyża w Warszawie, red. Kazimierz Sztarbałło i Michał Wardzyński, Warszawa 2010, s. 192-197

Serce miasta. Kościół Świętego Krzyża w Warszawie, red. Kazimierz Sztarbałło i Michał Wardzyński, Warszawa 2010, s. 202-207

Polska i Europa w dobie nowożytnej / L’Europe moderne: nouveau monde, nouvelle civilisation? / Modern Europe – New World, New Civilisation? Księga Pamiątkowa dedykowana Profesorowi Juliuszowi A. Chrościckiemu, pod red. Andrzeja Rottermunda i in., Warszawa, 2009

Dzieje i skarby kościoła Świętojakubskiego w Toruniu. Materiały z IV Sesji Naukowej Toruńskiego Oddziału Stowarzyszenia Historyków Sztuki z cyklu „Dzieje i skarby kościołów toruńskich", 26-28 października 2009 roku, red. Katarzyna Kluczwajd, Toruń 2010, s. 311-345

Non cesso gratias agere Deo et hominibus. Prace ofiarowane Ojcu dr. Anzelmowi Szteinke OFM z okazji Złotego Jubileuszu Kapłaństwa i ponad 50-lecia pracy historyczno-pisarskiej, red. Wacław Marian Michalczyk OFM, Celestyn Mieczysław Paczkowski OFM, Kraków-Warszawa 2013, s. 913-938

WarszaWa nieznane nastaWy W Kościołach reforMatóW W choczu i dzierzgoniu z 1. ćW. XViii W.

Heart of the City. The Church of the Holy Cross in Warsaw, eds. Kazimierz Sztarbałło and Michał Wardzyński, Warsaw 2011, pp. 168-199

Heart of the City. The Church of the Holy Cross in Warsaw, eds. Kazimierz Sztarbałło and Michał Wardzyński, Warsaw 2011, pp. 200-205

Heart of the City. The Church of the Holy Cross in Warsaw, eds. Kazimierz Sztarbałło and Michał Wardzyński, Warsaw 2011, pp. 206-209

Heart of the City. The Church of the Holy Cross in Warsaw, eds. Kazimierz Sztarbałło and Michał Wardzyński, Warsaw 2011, pp. 210-215,

Artyści włoscy w Polsce, XV-XVIII wiek, red. Juliusz A. Chrościcki i Renata Sulewska, Warszawa 2004, s. 621-642