Jan Jerzyczek – a resident painter of the Calvary complex in Kalwaria Zebrzydowska (original) (raw)
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© Alice Isabella Sullivan 2017 3 DEDICATION To my family. 4 ACKNOWLEDGMENTS This project is the result of years of study and training with support from numerous individuals, institutions, and organizations. My interest in the rich Moldavian corpus of ecclesiastical monuments began in a seminar on "Medieval Image Theory" in fall 2011 at the University of Michigan. I am incredibly grateful to Elizabeth Sears for leading this course and for initially encouraging me to delve into the Moldavian material. The project then developed under the tutelage of my doktorvater, Achim Timmermann, who from the outset was supportive of my interests in pursuing research on the artistic production of Eastern Europe, and the little-studied regions of the Carpathian Mountains. His feedback and insights over the years have helped me shape my project and bring it to completion, and have also taught me how to be a careful and thorough scholar. I would also like to acknowledge the rest of my committee members-Elizabeth Sears, Paroma Chatterjee, and John V.A. Fine-who offered enthusiasm, key advice, and invaluable suggestions at various stages in this process. Their assistance has enabled me to think carefully and critically about the works I study, and push my project in exciting new directions.
Artistic Patronage in Central Europe: From Private Foundations to State Art/Kunstpatronage in Mitteleuropa zwischen Privatstiftung und Staatskunst, 2021
W artykule przedstawiono analizę wybranych przykładów patronatu artystycznego kanoników jednej z najstarszych i najważniejszych kapituł w diecezji krakowskiej. Pierwsza część opracowania poświęcona jest omówieniu piętnastowiecznej przebudowy kolegiaty w Skalbmierzu. W oparciu o analizę architektury i źródeł pisanych postawiono tezę o szybkim przebiegu prac (od 1443 do 1460), zrealizowanych według jednolitej koncepcji. Zgodnie z nią intencjonalnie wyeksponowano romańskie fragmenty poprzedniej budowli w połączeniu z najbardziej prestiżowym w Małopolsce modelem kościoła – bazyliką w tzw. systemie krakowskim z długim chórem. Powstał w ten sposób gmach spektakularny, emanujący zarówno odwołaniami do chlubnej przeszłości, jak i nowoczesnym, prestiżowym modusem stylowym. Jako osobę odpowie- dzialną za jego koncepcję i realizację wskazano Jakuba z Sienna. Następnie omówiono patronat kapituły skalbmierskiej nad dostosowaniem wyposażenia kolegiaty do wymogów liturgii potrydenckiej. Najwcześniej, bo już w końcu wieku XVI rozpoczęto wymianę szat liturgicznych na nawiązujące krojem do tych sprowadzanych z Rzymu. Z kolei w pierwszej połowie XVII wieku zmieniono wyposażenie prezbiterium sprawiając nowe stalle, ołtarz główny oraz meble w zakrystii. Powyższe działania pokazano na tle podobnych procesów zachodzących w katedrze krakowskiej, będących dla skalbmierskiej kapituły najważniejszym wzorem ideowym i artystycznym.
The artistic connections of the Romanesque wall paintings in Kostolany pod Tribecom (Slovakia)
The wall paintings of the nave of a small rural church in Kostolany pod Tribecom does not just represent one of the earliest well-preserved fresco cycles from the Hungarian kingdom, but maintain a special iconography. While many studies have examined the date of the frescoes no detailed analysis concerns their iconography which is without proper analogies in its period and place. The aim of my presentation is to observe the artistic connections of these wall paintings following mainly late antique and Carolingian models. I will focus on three images: the Annunciation with the maiden of the Virgin Mary, the Visitation with two servants managing the curtains, and the Magi on the road who are depicted as eastern travellers wearing Persian clothes. All of these images were already unfashionable after the first millenium. How did these image types arrive at this church and through what possible mediating material? Observing these obscure, archaic pictures can shed light on the methods of artistic exchange between the Mediterranean world and east-central Europe.
Gothic Route – Crossroad of Cultures and Heritage. Gothic Route Conference Proceedings V (Proceedings of the 5th annual conference organized by Gotická cesta in Rožňava, 25th – 27th August 2022.), 2024
The paper explores the activity of painting workshops responsible for the decoration of the sanctuary of Rimavská Baňa (Rimabánya) and Rákoš (Gömörrákos), calling attention to their stylistic connection to the paintings of Čerín (Cserény) in Zvolen County. Additional connections are made with the nave frescoes at Šivetice (Süvéte) as well as at Necpaly (Necpál). This interconnected group of wall paintings can be dated to the second decade of the 15th century, based on historical and heraldic evidence. Our goal is to propose more secure dates for some key monuments in Gemer County, enabling to clarify the chronology of key monuments. The paintings reflect Central European International Gothic style, which exerted a strong influence in these regions, and which modified the predominantly Italian Trecento style of paintings of the previous generation.