DOI issue:
Nr. 1
DOI article:Miscellanea
DOI article:Dobrzeniecki, Tadeusz: Gotycki obraz z Olbierzowic: (Zagadnienia ikonografii i stylu)
DOI Page / Citation link:https://doi.org/10.11588/diglit.47894#0068
TADEUSZ DOBRZENIECKI
A LATE GOTHIC PANEL FROM OLBIERZOWICE
NOTES ON THE ICOINOGRAPHY AND STYLE
The author of 'the situdy presents an unpublished
Late Gothic painting with the image of the Man
of Soirrows standing at the Sorrowful Virgin (ins-
criptioins on the niiimbi: SALVATOR MUNDI ADIU-
VA NOS... SANCTA MARIA ORA PRO NOBIS...;
diimenisioiis: 107,2X176,2 cm). In the lower part of
the painting there is a portrait of the donor’s fa-
mily (coats of armis Grzymała and Rawicz). The
panel, sińce 1882 the property of ithe Nunis of the
Immaculate Conception Order (now at Szymanów)
comes from Olbierzowice, a smali locality, which in
the Middle Ages belonged to the Sandomierz district
and archdeacontry. The recent conservation of the
painting in the laboratory of the National Museum
in Warsaw provided a good opportunity for a close
examination of the work.
The j'uxtapoisliition of the sorrowful Persons is
a pictorial exipres!sion of the basie concept of me-
diaevel Soteriology, namely, that the Redemption
was accoimplished by Christ (Saluator) with His Mo-
ther’s participation (Corredemptio), being revealed in
Her spiritual sufferings (Compassio). Iconographi-
cally, the painting reflects the finał stage of a long
representational development, which penetrated into
Roland by two different currents: the Italian, being
transferred sińce the XIVth century by Bohemia
(it juxtaposed the Man of Sorrows with Mary
and the Infant Christ) anld, silightly lateir, by the
Netherlandish one (the Man of Sorrows confronted
with the Sorrowful Virgin. The master of our pain-
ting integrates Southern and Northern elements to
express into one pictorial formula an idea of the
common sacrifice of Christ and the Vfrgin, being
offered once on the Mount Calvary and yet ever-
lasting.
Stylisticaliy, the Olbierzowice panel is closely
a,kin to two Works of Polish painting of the early
XV)Iith century: the panel of the same subject (how-
ever, supplemehted with the Bilblical coimmentary)
at Dębno (Greater Roland) and the one of the Sor-
rowful Yirgin in the Franciscans’ Church in Cracow.
The latter is usually ascribed to a certain painter
Jerzy (George), whose activity im Cracow finds a do-
cumeritary endoirsement, but who was known up to
now a>s a master of the only Work.
The discovery of the Olbierzowice panel, relati-
vely belst preserved of the thiree, allows to know
this Cracow artist better. It informis about his di-
rect acąualintance With Netherlandish painting: the
ewidence of this aire the iconographic colmponeintis as
well as the beautiful heads of the Virg'in amid Christ,
close to the types of Albert Bouts’ workshop. For
the figurę of Christ in the Olbierzowice panel and
in the Dębno one a model may be pointed, spread
out at least sińce 1480 by graphic arts, as an Upper
Rhenian woodcut proves.
The poritraits of the donor’® family betray the
hand of another master. He might have specialized
as a portraiitist sińce we can easily recognize his
manner in the polrtraits of the membens of Krzysztof
SzydłowieckTis family on the alterplece founded by
the Chancellor for the Church at Szydłowiec.
The Identification of the donor will allow to
establish the destination of the Olbiienzowiee panel,
this valuable worik of ca 1510, not without conse-
ąuences for further istudies on Late Gothic painting
in Rolland.
tłum. P. Ratkowska
A LATE GOTHIC PANEL FROM OLBIERZOWICE
NOTES ON THE ICOINOGRAPHY AND STYLE
The author of 'the situdy presents an unpublished
Late Gothic painting with the image of the Man
of Soirrows standing at the Sorrowful Virgin (ins-
criptioins on the niiimbi: SALVATOR MUNDI ADIU-
VA NOS... SANCTA MARIA ORA PRO NOBIS...;
diimenisioiis: 107,2X176,2 cm). In the lower part of
the painting there is a portrait of the donor’s fa-
mily (coats of armis Grzymała and Rawicz). The
panel, sińce 1882 the property of ithe Nunis of the
Immaculate Conception Order (now at Szymanów)
comes from Olbierzowice, a smali locality, which in
the Middle Ages belonged to the Sandomierz district
and archdeacontry. The recent conservation of the
painting in the laboratory of the National Museum
in Warsaw provided a good opportunity for a close
examination of the work.
The j'uxtapoisliition of the sorrowful Persons is
a pictorial exipres!sion of the basie concept of me-
diaevel Soteriology, namely, that the Redemption
was accoimplished by Christ (Saluator) with His Mo-
ther’s participation (Corredemptio), being revealed in
Her spiritual sufferings (Compassio). Iconographi-
cally, the painting reflects the finał stage of a long
representational development, which penetrated into
Roland by two different currents: the Italian, being
transferred sińce the XIVth century by Bohemia
(it juxtaposed the Man of Sorrows with Mary
and the Infant Christ) anld, silightly lateir, by the
Netherlandish one (the Man of Sorrows confronted
with the Sorrowful Virgin. The master of our pain-
ting integrates Southern and Northern elements to
express into one pictorial formula an idea of the
common sacrifice of Christ and the Vfrgin, being
offered once on the Mount Calvary and yet ever-
lasting.
Stylisticaliy, the Olbierzowice panel is closely
a,kin to two Works of Polish painting of the early
XV)Iith century: the panel of the same subject (how-
ever, supplemehted with the Bilblical coimmentary)
at Dębno (Greater Roland) and the one of the Sor-
rowful Yirgin in the Franciscans’ Church in Cracow.
The latter is usually ascribed to a certain painter
Jerzy (George), whose activity im Cracow finds a do-
cumeritary endoirsement, but who was known up to
now a>s a master of the only Work.
The discovery of the Olbierzowice panel, relati-
vely belst preserved of the thiree, allows to know
this Cracow artist better. It informis about his di-
rect acąualintance With Netherlandish painting: the
ewidence of this aire the iconographic colmponeintis as
well as the beautiful heads of the Virg'in amid Christ,
close to the types of Albert Bouts’ workshop. For
the figurę of Christ in the Olbierzowice panel and
in the Dębno one a model may be pointed, spread
out at least sińce 1480 by graphic arts, as an Upper
Rhenian woodcut proves.
The poritraits of the donor’® family betray the
hand of another master. He might have specialized
as a portraiitist sińce we can easily recognize his
manner in the polrtraits of the membens of Krzysztof
SzydłowieckTis family on the alterplece founded by
the Chancellor for the Church at Szydłowiec.
The Identification of the donor will allow to
establish the destination of the Olbiienzowiee panel,
this valuable worik of ca 1510, not without conse-
ąuences for further istudies on Late Gothic painting
in Rolland.
tłum. P. Ratkowska