Porta Aurea最新文献

{"title":"Rokokowe rzeźby z ogrodzenia pałacu Mniszchów w Gdańsku. Autorstwo – styl – program ikonograficzny","authors":"Alina Barczyk","doi":"10.26881/porta.2021.20.02","DOIUrl":"https://doi.org/10.26881/porta.2021.20.02","url":null,"abstract":"In 1751, Jerzy August Mniszech purchased a plot in Długie Ogrody Street: the area where a large -scale residence was erected. Its designer was most probably Pierre Ricaud de Tirregaille. An important element in shaping the spatial composition of the entire palace and garden ensemble was formed by the main gate, characterized by an extremely dynamic, sculptural form, typical of Rococo art. At the top of the gate and on the fence posts there were figures: personifications of Minerva and Ceres, four putti representing the seasons and vases. At the beginning, the article presents the history and style of the sculptures. Then the question of attribution is discussed. In literature, Johann Heinrich Meissner is the most frequently indicated creator of the entire sculptural ensemble. This attribution, in view of the shortage of sources, requires confrontation with other, preserved works of the artist. Johann Heinrich Meissner (1701–1770) was born in Królewiec. He was present in Gdańsk, where from 1726 he owned a valued workshop. Having lived in the Old Town, near the Church of St Catherine, in 1755 he moved to Długie Ogrody where he located his studio, so he was a direct witness to the project carried out for Jerzy August Mniszech. Meissner’s workshop created, among other things, garden sculptures and elements of temple decorations. Among the sacred implementations, mention should be made of the decoration of the main altar in the Cathedral in Frombork, which includes four full -figure angelic figures, vases, flames and garlands made of pine wood. Meissner was also responsible for the statues of angels from the organ front in Gdańsk’s Church of St Mary, expanded in 1757–60. The soft modelling of forms precisely emphasizes the anatomy. Figures’ gestures are naturalistic. The sculptures in front of the Mniszech Palace are stylistically different from them: strongly stylized, exaggerated, they feature vibrating surface characteristic of the Rococo. Their authorship should therefore be associated with another sculpture workshop operating in Gdańsk in the mid -18th century. Another thread is the symbolic diagram of the fence decoration. In order to understand the ideological meaning of the figures in question, it is necessary to juxtapose them with the iconography found in Gdańsk’s art (e.g. Minerva decorated the façade of the Great Armory and the hall of the Main Town Hall, while the statues of Ceres were placed at the tops of tenement houses) and with European trends.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134183552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Wędrówki młodego Caspara Davida Friedricha. Rugia","authors":"T. Żuchowski","doi":"10.26881/PORTA.2020.19.07","DOIUrl":"https://doi.org/10.26881/PORTA.2020.19.07","url":null,"abstract":"The article looks at the context in which young Caspar David Friedrich (1774–1840) developed his interest in the landscape of the Island of Rügen and the effects of this setting on the drawings the artist produced during his wanderings there. \u0000This article positions itself against the current scholarship which assumes that Friedrich’s fascination with Rügen had formed before the artist moved to Copenhagen to study at the Fine Arts Academy. Instead, this article shifts Friedrich’s attraction to the island forward, to his time in Copenhagen. The city was then the centre of European research into Ossian’s poetry and the Nordic past. The author points to the significance of the Island of Møn, popularized by Søren Abildgaard, whose son, Nicolai, Professor of Art at the Copenhagen Academy was one of the most active exponents of the cult of Ossian in Denmark. Another major figure connected with the Island of Møn was the poet and clergyman Christen Andersen Lund, promoter of English literature. \u0000The popularity of Rügen as a destination grew precisely at the time when Friedrich returned from Copenhagen to his native Greifswald. One of the major champions of the island’s beauties was Ludwig Gotthard Kosegarten, pastor at the Rügen Altenkirchen and at the same time a close friend of Friedrich’s first drawing teacher in Greifswald Johann Gottfried Quistorp. \u0000Friedrich’s first three excursions to Rügen in 1801–1802 resulted in many sketches of the island’s landscapes. These years are regarded here as seminal in the formation of the artist’s method. Already the sketches show the traits characteristic of his later oeuvre, and especially the mathematical structure of the composition. We need to remember that Quistorp was principally educated as a mathematician, a builder, and a land surveyor. Copenhagen at the time of Friedrich’s studies was one of the European centres of cartography, and the courses in mathematics, geometry, and perspective were considered of special importance at the Academy. This article focuses on four drawings made by Friedrich during his trips to Rügen. The author points to their mathematical precision and interprets the drawings in the context of cartographic practices, as well as in the light of old treatises on perspective. Special consideration is given to the method of laying out a grid on paper before making the actual sketch.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123529351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Co wspólnego ma Wniebowzięcie Marii z Ostatnią Wieczerzą, czyli o genezie formy i ikonografii późnośredniowiecznego obrazu ze zbiorów Muzeum Narodowego w Poznaniu,(...)","authors":"Andrzej Woziński","doi":"10.26881/PORTA.2020.19.02","DOIUrl":"https://doi.org/10.26881/PORTA.2020.19.02","url":null,"abstract":"The late medieval panel painting of the Assumption of Virgin Mary from the Collection of the National Museum in Poznań was most likely created in Greater Poland (Wielkopolska), probably in Poznań, in the early 16th century. Scholars have pointed out the connection of its iconography with several other art pieces from the area of Greater Poland. In the light of these findings, our painting seemed to be traditional in the terms of form, as well as of content. This paper shows that some formal solutions and motifs used in the painting from Poznań differ from a typical iconographic practice, and it has only partial coverage in literary sources. The Apostles’ behaviour not fully corresponding to the subject and the chair in which an unidentified Apostle is sitting in a strangely complicated pose by the sarcophagus are the exceptional traits of the Poznań painting. The reason for their presence is the fact that the painter quoted a large part of the copperplate engraving of the Netherlandish Master IAM of Zwolle on a completely different subject: the Last Supper. The painter repeated selected elements quite accurately, without trying too much to adopt them to the new context. The Poznań painting is one of the countless examples of the use of prints as a pattern in the late medieval workshop practice. But at the same time, it belongs to the smaller in number works that were created in a more sophisticated way, through a compilation of motifs taken from various sources, combined with iconographic transformations. The paintings of Jörg Stoker, active in Ulm, and the prominent Antwerp artist Joos van Cleve analysed in the paper, are the examples of the application of a similar creative procedure. The last part of the text is devoted to the reception of the copperplate engraving by Master IAM of Zwolle, which determined so markedly the form and iconography of the painting at the National Museum in Poznań. The range of impact of this pattern, including Northern France, Greater Poland, Austria, Southern Germany (?), Northern Italy, Sardinia and Castilla, illustrates how universal, despite all the regional differences, the visual culture of Latin Europe was at the time.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126858478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ciało ludzkie – ciało ludu w przestrzeni nazistowskiej","authors":"H. Grzeszczuk-Brendel","doi":"10.26881/PORTA.2020.19.19","DOIUrl":"https://doi.org/10.26881/PORTA.2020.19.19","url":null,"abstract":"During the Third Reich, the propaganda impact of architecture and space, cumulated in relation to the basic material provided by Volkskörper, ‘human architecture’. Not only were the bodies of an individual and a community the recipients of architecture or affected by its impact, but they also co-created it. The official Nazi assumptions interpreted in this light may allow, using the perspective of the peculiar features of the Third Reich architecture, to illustrate the relations between an individual and a group during the Nazi times. The analysis of the combination of the human body and resized space demonstrates that a symbolic immersion of an individual in Volksgemeinschaft does not only seem to annihilate him, but through that to incorporate him into the system of mindless obedience. \u0000 These issues will be discussed on the example of Poznań WW II projects, placed in the context of the selected model ones from Nuremberg and Weimar.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123952800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia","authors":"A. Ziemba","doi":"10.26881/PORTA.2020.19.01","DOIUrl":"https://doi.org/10.26881/PORTA.2020.19.01","url":null,"abstract":"In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era). \u0000 An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology. \u0000The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’. \u0000The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and moderni","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122804196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"„Hin sinkt der Wall, der alte Schutz, es fallen seine Stützen”. Ryska twierdza w XVI–XIX w. i jej defortyfikacja w 1857 r.","authors":"Agnieszka Zabłocka-Kos","doi":"10.26881/PORTA.2020.19.14","DOIUrl":"https://doi.org/10.26881/PORTA.2020.19.14","url":null,"abstract":"The following article presents the issue of the fortification of Riga and associated plans of the suburbs in the 17th and 18th centuries (plans of Johann van Rodenburg and Rudolf Friedrich Härbel), as well as the projects of the transformation of the former fortification zones in the 19th century. Additionally, the paper covers the question of an unknown plan of Riga from 1843. In 1812, as a result of an intentional arson during the Russian campaign, the suburbs were completely destroyed. This prompted Filippo Paulucci to create a new plan that, among others, carefully delineated the transformation of the glacis into a wide esplanade. In 1856, after the Crimean War, a decision was made to de-fortify the city. In November 1857, in a very solemn manner, the process of Riga’s defortification began. Torch -bearing citizens participated in marches across the city, taking part in concerts and collective singing; during all these festivities, the city was brightly illuminated. This event was an amalgamation of solemn state celebrations and a folk, carnival-like fiesta. Celebrations connected with the process of Riga’s defortification belong to a small group of defortifications in European cities celebrated so uproariously. \u0000In early 1857, the architect Johann Daniel Felsko created a remarkably interesting plan developing the former fortification grounds, as well as a new idea of the spatial development of the city. Felsko used the modern division into functional zones: the trading-communication zone (port, depots, railway station, and ‘gostiny dvor’ (‘merchant yard’) and the stately-park zone (palaces, elegant revenue houses, public buildings), which, at that time, was still a great rarity. The conception utilized in Riga definitely overtook the ideas for the Vienna Ring Road (the second half of 1857). In my opinion, Felsko’s idea shares the most similarities with the former fortification zones in Frankfurt am Main, which were reclaimed in 1806. However, his plan was never faithfully realized. \u0000Out of numerous projects concerning the esplanade and promenade on the grounds of the former glacis, in the second half of the 19th century, there emerged one of the most interesting and beautiful European promenade complexes. Some of the first public buildings were the Riga-Daugavpils Railway Station and the theatre; later, school buildings, the Riga Technical University, and numerous palaces and houses were erected there. In the early 20th century, Riga was the third biggest and industrially developed city east of the Oder, reaching the population of over 470,000 citizens in 1913, following Warsaw and Wrocław. Its spatial development ideas, created in the 19th century, were then fully implemented.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"3 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114010124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dantiscum septentrionis, occidentis et totius orbis hodie emporium frequentissimum. Ægidius Dickmans großes Panorama von Danzig von 1617","authors":"L. O. Larsson","doi":"10.26881/PORTA.2020.19.03","DOIUrl":"https://doi.org/10.26881/PORTA.2020.19.03","url":null,"abstract":"Nieco ponad sto lat temu w Bibliotece Królewskiej w Sztokholmie odkryto Wielką Panoramę Gdańska z 1617 r. Praca o dumnie brzmiącym tytule: DANTISCUM SEPTENTRIONIS; OCCIDENTIS ET TOTIUS ORBIS HODIE EMPORIUM FREQUENTISSIMUM jest drukowaną z siedmiu płyt akwafortą o nietypowej wielkości (53,7 × 258 cm). Grafika sygnowana jest „Aegidius Dickman Gedanensis fecit et excudebat 1617”, co oznacza, że autor w inskrypcji nazywa siebie gdańszczaninem, twórcą dzieła i jego wydawcą. \u0000Nie są znane inne odbitki tej weduty. Zachowała się natomiast seria 14 Widoków Gdańska PRAECIPUOR LOCORUM ET AEDIFICIORUM QUAE IN URBE DANTISCANA VISUNTUR ADUMBRACIO, sygnowana przez Dickmana i datowana na 1617 r. Oba dzieła powstały prawdopodobnie w Gdańsku. Dickman wykonując tak dużą panoramę miasta, liczył zapewne na profity w przyszłości. Niestety, rok później na jego drodze stanął amsterdamski wydawca Pieter van der Keere, kopiując jego wedutę. Dickman, co wiemy ze źródeł, udał się w 1624 r. do Holandii, prawdopodobnie specjalnie po to, by przeciwstawić się takiemu procederowi. W Amsterdamie spotkał słynnego grafika i wydawcę – Claesa Jansza Visschera, i nawiazał z nim współpracę. W 1625 r. Visscher opublikował nowe wydanie 14 Widoków Gdańska Dickmana. Na ten sam rok może być datowana druga edycja Wielkiej Panoramy Gdańska wydana przez Visschera. Wcześniej uważano ją za kopię akwaforty Dickmana, ale wiele wskazuje na to, że została ona odbita, podobnie jak 14 Widoków Gdańska, z oryginalnych płyt Dickmana, a więc w porozumieniu z nim. Panorama wydana przez Visschera jest nieco mniejsza od pierwszej weduty Dickmana ze względu na fakt, że pominięto na niej wioskę Szkoty na południu miasta. \u0000Głównym celem tekstu jest uchwycenie osobliwości Wielkiej Panoramy Gdańska autorstwa Dickmana na tle holenderskich widoków miast z tego okresu, przy jednoczesnym zwróceniu uwagi na jej niezwykłą oryginalność. Służą temu porównania z kopią van der Keere’a i edycją weduty opublikowaną przez Visschera. Zależało mi również na dokładniejszym zbadaniu niektórych, nieuwypuklonych wcześniej aspektów weduty, zwłaszcza w odniesieniu do sztafażu na pierwszym planie i alegorii w partii nieba.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127302844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Gdynia i Żydzi w antysemickich rysunkach z prasy II Rzeczypospolitej","authors":"Dariusz Konstantynów","doi":"10.26881/PORTA.2020.19.09","DOIUrl":"https://doi.org/10.26881/PORTA.2020.19.09","url":null,"abstract":"The issue of the defence of Polish interests on the Baltic against the threat that could be seen in the sudden inflow of Jewish business people and merchants to the coast, seeking new space and new opportunities for their activities, emerged in the anti-Semitic discourse of the Second Polish Republic already in the year in which the independent Polish state was born. However, it was only in the 1930s that the question of the ‘Jewish invasion’ of the ‘Polish coast’ in the anti -Semitic campaigning by means of a word and a cartoon (often the combination of both) was fully displayed. Then Gdynia also became the leading motif. In the paper analysis of selected press cartoons, most frequently published in such nationalistic magazines as ‘Samoobrona Narodu’, ‘Pod Pręgierz’, ‘Orędownik’, or ‘Kurier Poznański’ has been presented; their task was to convince the public that it was necessary to ‘de -Jewishize’ Gdynia and bestow a ‘Polish national character’ on it. The cartoons have to be treated as a very effective tool of nationalistic campaigning in press, since they referred to the perception of Gdynia shared by all the Polish people as one of the most important elements within the symbolic universe of the Second Polish Republic.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128530418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Nieznany złotniczy znak miejski Gdańska z czwartej ćwierci XVII w.","authors":"Jacek Kriegseisen","doi":"10.26881/PORTA.2020.19.06","DOIUrl":"https://doi.org/10.26881/PORTA.2020.19.06","url":null,"abstract":"Goldmisth’s hallmarks, particularly city ones used within the territory of the PolishLithuanian Commonwealth, have been the object of interest of numerous scholars since the late 19th century. The reason being that not only do they facilitate the attribution of definite historic silverware pieces to a definite goldsmithery centre, but they are also helpful when the results of stylistic analysis prove too wide too define a more precise time of their creation. \u0000Puncheons used to stamp city hallmarks on silver, as is proven by the preserved historic pieces, depending on the intensity of use and degree of wear, were in service either for a shorter time: a year or several years, or a longer time, sometimes some dozen years. For this reason it is hard or almost impossible to ascertain which Guild’s Elder, alternating yearly, authorized to stamp the city hallmark, actually marked the product. The problem disappeared only when in Gdansk the duty to stamp a peculiar countersignature, namely an additional control sign, was introduced in 1730. \u0000The hallmark presented in the paper is a previously unrecorded version of the city of Gdansk’s hallmark, whose use can now be dated to 1683–1688, though it was in actual use for a shorter time. However, already with such-defined chronology of the use of hallmarks Nos. 5A–E, a more precise dating of historic pieces of Gdańsk goldsmithery is possible.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129334039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Prace Konstantego Wojciechowskiego przy katedrze we Włocławku a koncepcja „stylu wiślano‑bałtyckiego”","authors":"K. Stefański","doi":"10.26881/PORTA.2020.19.15","DOIUrl":"https://doi.org/10.26881/PORTA.2020.19.15","url":null,"abstract":"The Włocławek Cathedral dedicated to the Assumption of the Blessed Virgin Mary is one of the most important Gothic churches in the lowlands of northern Poland. However, overshadowed by the Cathedrals in Poznań and Gniezno, it is considered a building that is more modest in scale and less artistically valuable. An important issue related to the history of the church is its restoration that was carried out in the last two decades o the 19th century, initially according to the plans of Tadeusz Stryjeński from Cracow and then led by the Warsaw architect Konstanty Wojciechowski (1841–1910). Wojciechowski re-Gothycized the building, giving it a ‘cathedral’ form featuring a magnificent façade with two high towers. These works coincided with the growing popularity of the idea of the ‘Vistula-Baltic Gothic’ as the Polish national style in church construction. The Warsaw architect used the forms of the cathedral he rebuilt to develop his own vision of the church in the ‘Vistula-Baltic style’, competitive to the solutions used by Józef Dziekoński. The incarnation of this vision was the church of the Assumption of the Virgin Mary in Łódź, followed by a series of smaller buildings erected in villages and in small towns within the Russian partition, in which the architect repeated his pattern on a smaller or larger scale. The culmination of Wojciechowski’s creative path was the Church of the Holy Family in Częstochowa (the current Cathedral), built from 1901.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132647508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}