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DOI Artikel:Dettloff, Szczęsny: Leonardo da Vinci i Wit Stosz: dwa światy uniwersalizmu artystycznego z przełomu XV i XVI wieku
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.29070#0079
LEONARDO DA VINCII WIT STOSZ, DWA ŚWIATY UNIWERSALIZMU ARTYSTYCZNEGO
77
LEONARDO DA VINCI AND VEIT STOSS.
TWO WORLDS OF ARTISTIC UNIVERSALISM AT THE TURN
OF THE 16TR CENTURY
Summary
The present text was submitted by the Rev. Szczęsny Detloff to AG Since it
is an essay rather than a scholarly paper, the editor, David R. Coffin, turned it down.
After fifty years, it will be published now for the first tirne. Footnotes have been
added by the editors.
In his argument, Dettloff addresses the problem of two artistic personages who lived
at the tum of the 16^ century in two different cultural traditions: Leonardo da Vinci,
one of the main representatives of Italian humanism, and Veit Stoss, an artist of the
late Middle Ages. Both of them were quite exceptional in their times. Both became
famous in the 1480s and maintained their reputation till death despite various
vicissitudes. In the 16^ century, Stoss was well known in Germany and Leonardo in
France. Many works of both masters remained unlinished, although we know that
they planned to complete them. Leonardo and Stoss were active as painters,
sculptors, and architects. An important aspect of their pursuits was an interest in
man, particularly in human anatomy. It should be noted that despite cultural
differences, both of them were artistic innovators, experimenting with the genres of
landscape and caricature. Moreover, Leonardo and Stoss were often thinking about
the plastic arts in surprisingly similar terms, in a similar way asking questions
about the boundaries of particular artistic genres. For instance, Leonardo's carton of
his Battle o/* AngAiuri is plastic, if not relief-like, while Stoss in his Cracow
altarpiece madę for Our Lady's church attempted to achieve the painterly effect of
two dimensions. An analysis of motion in both works leads to similar conclusions.
Both artists approched the problem of motion in the plastic arts in a scientilic
manner.
77
LEONARDO DA VINCI AND VEIT STOSS.
TWO WORLDS OF ARTISTIC UNIVERSALISM AT THE TURN
OF THE 16TR CENTURY
Summary
The present text was submitted by the Rev. Szczęsny Detloff to AG Since it
is an essay rather than a scholarly paper, the editor, David R. Coffin, turned it down.
After fifty years, it will be published now for the first tirne. Footnotes have been
added by the editors.
In his argument, Dettloff addresses the problem of two artistic personages who lived
at the tum of the 16^ century in two different cultural traditions: Leonardo da Vinci,
one of the main representatives of Italian humanism, and Veit Stoss, an artist of the
late Middle Ages. Both of them were quite exceptional in their times. Both became
famous in the 1480s and maintained their reputation till death despite various
vicissitudes. In the 16^ century, Stoss was well known in Germany and Leonardo in
France. Many works of both masters remained unlinished, although we know that
they planned to complete them. Leonardo and Stoss were active as painters,
sculptors, and architects. An important aspect of their pursuits was an interest in
man, particularly in human anatomy. It should be noted that despite cultural
differences, both of them were artistic innovators, experimenting with the genres of
landscape and caricature. Moreover, Leonardo and Stoss were often thinking about
the plastic arts in surprisingly similar terms, in a similar way asking questions
about the boundaries of particular artistic genres. For instance, Leonardo's carton of
his Battle o/* AngAiuri is plastic, if not relief-like, while Stoss in his Cracow
altarpiece madę for Our Lady's church attempted to achieve the painterly effect of
two dimensions. An analysis of motion in both works leads to similar conclusions.
Both artists approched the problem of motion in the plastic arts in a scientilic
manner.