The artistic patronage of Ladislaus Jagiello. Beyond the opposition between Byzantium and the Renaissance, in: Byzantium and Renaissances. Dialogue of Cultures, Heritage of Antiquity - Tradition and Modernity, ed. Michał Janocha e.a., Warsaw 2012 (original) (raw)
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Art in Poland from the Renaissance to the Rococo
2011
In 1492, the year America was ‚discovered‛, Casimir IV Jagiellon, King of Poland and the Grand Duchy of Lithuania, perished after a 56-year reign. His death marked the end of an era. The two brief rules of his sons-Jan Olbracht (1459-1501) and Aleksander (1461-1506)-were a transitional phase. The Constitution of 1505 ended the process of the medieval monarchy's transformation into a state with a new, distinct structure, known as the respublica mixta. By the time Sigismund I the Old (1467-1548), another son of Casimir IV, acceded to the throne the following year, Poland was a sort of republic ruled by the nobility, with a king whose position was in fact comparable to that of a lifelong president, however much the splendour of the monarchy was maintained. Although this structure had dangerous and even self-destructive aspects, it survived until the end of the eighteenth century, and the reigns of Sigismund I the Old and his son, Sigismund II Augustus (1520-1572), are considered the country's most prosperous period and a golden age in the history of Polish culture. Despite the growing crisis in the seventeenth and eighteenth centuries in the republic's vast territories-which spanned Poland, Lithuania, today's Belarus and a substantial part of Ukraine-invaluable cultural and artistic works were produced. The long years from the sixteenth to the eighteenth centuries are defined as the ‚Old Polish‛ era and, in the traditional terminology of the history of European art, correspond to the Renaissance, Mannerism and the Baroque and Rococo periods. The aforementioned political transformation took place during the transition from fifteenth to sixteenth century, and was accompanied by equally swift changes in art. In 1489 Veit Stoss (1447/48-1533) completed the massive sculpted altarpiece in St Mary's church in Krakow, which is hailed as the greatest artistic achievement in late medieval Polish art. During this period art flourished, underpinned by prosperous cities with autonomous laws, where crafts and trade were developing on an international scale. In Krakow, the capital city, the main Gothic buildings were erected in the latter half of the fourteenth and early fifteenth centuries. Painting and sculpture soon moved into the forefront, with the idealism of the ‚international style‛ of the early fifteenth century giving way to the realism and expressionism of the latter half
Obscured Balkans, 2024
The article presents for the first time unexplored fragments of wall paintings from the late medieval Krupnik Episcopal Church of the Holy Trinity, kept in the National Archaeological Museum. The authors try to answer the question: is it possible that the painters of Krupnik belonged to a larger studio that completely covered the painting of churches in the Middle Struma area (which interpretations exist in the historiography), or rather that their work was influenced by other artists, working in the northwest or south. In order to solve this problem, parallels were sought in the preserved wall paintings from Vukovo, Boboshevo, Orlitsa and Goranovtsi, which date from approximately the same period as the Krupnik Church (XV-XVII centuries). The preserved frescoes show the hands of artists who were well acquainted with the Orthodox iconographic programmes of the late Middle Ages and the post-Byzantine period. The fragments show two layers, painted at different times between the 15th and 17th centuries. The frescoes can also be associated with the active policy of Bishop Jacob II, during which the painting of the Boboshevo Monastery of St. Demetrius and the Nunnery Orlitsa was carried out.
2011
Franciscans in Holszany; he also built the Church of St. John the Baptist and a residential building for them. In 1774, the church was remodeled for the Franciscans’ money. Its main facade was decorated with paintings of scenes from the life of its patron – St. John the Baptist, and new altars were added in about 1790. The preserved copies of the foundation documents and information from inventory records and inspection certificates from the end of the 18th century and the 1st half of the 19th century testify to those changes [6], [7], [9], [22–24]. After the failure of the November Uprising whose goal was to restore the Polish-Lithuanian Federation, many monasteries in former Grand Duchy of Lithuania were considered centers of rebellion by tsarist authorities and they were closed. Such a policy applied also to the Franciscan convent in Holszany. It was closed in 1832 and the residential buildings were handed over to the Russian army that demolished some of them. The church was the ...
Religious debate and visual compromise : interpreting Byzantine murals in Lithuania and Poland
Studia historica Brunensia, 2019
The Byzantine-style murals which adorned the interiors of Lithuanian castles and churches and were "exported" to Poland during King Wladislas II's reign are regarded as reflecting religious debates. This discussion highlights the Orthodox and Catholic interference in the display and iconography of these wall paintings and constructs hypothetical roles for those who commissioned, painted and supervised the content of the interior decoration. From the late fourteenth century, attitudes towards these paintings changed over a hundred years: from passivity towards their content, to religious alterations either by Orthodox masters or by Catholic patrons or supervisors, and ended with the murals being labelled as the style of the Jagiellonian house.