DOI issue:
Nr. 1-2
DOI article:Stefański, Krzysztof: Antoni Wiwulski jako architekt
DOI Page / Citation link: https://doi.org/10.11588/diglit.48917#0080
KRZYSZTOF STEFAŃSKI
był ze swojej religijności, "zmarł w atmosferze święto-
ści". Wątek religijny dominuje w wielokrotnie już cyto-
wanej, jedynej monografii artysty napisanej przez o. F.
Świątka. Wydaje się, że publikacja ta była przygotowa-
niem do starań o beatyfikację Wiwulskiego. Religijna i
patriotyczna postawa twórcy podkreślona jest też w krót-
ANTONI WIWULSKI
Antoni Wiwulski (1877-1919) is one of the most
interesting figures in the art of Poland and Lithuania
from early twentieth century. He was active both in the
field of architecture and sculpture. As an architect, Wi-
wulski left only a few projects, including an unfinished
work and one completed building. He was boni in the
Vologda gubernia of northem Russia but his parents
came from Lithuania. Later, Wiwulski attended secon-
dary school in Mitawa in Kurland, and he graduated
from a Jesuit school in Chyrow in Galicia. From 1897
to 1909 he studied architecture in Vienna, and in 1902
he began studying sculpture in Paris at the Ecole des
Beaux Arts in the workshop of Mercier.
By 1903, A. Wiwulski had probably already madę
his first larger architectural project for a chapel in Szyd-
łów (Siluvas) in Samogitia. In 1905, he took part in a
closed competition for the Jesuit church in Cracow.
Although the competition itself did not meet the expec-
tations of its organizers, Wiwulski’s project was regar-
ded as the best. Soon afterwards, he was asked by the
Jesuits from Vilno to plan a church for them. The project
was ready in 1907, and it was an extensive three-nave
basilica with a lofty dome on the nave Crossing and two
towers on the comers of the faęade. The realization of
the plan was abandoned due to conflicts between the
Church hierarchy and the Russian authorities. In 1907
the artist participated in a competition for a chapel on
the Morskie Oko Lakę in the Tatra Mountains. He
presented a project for a monument on a square plan in
the shape of a truncated pyramid which, was not appro-
ved by the organizers.
During his studies in Paris, A. Wiwulski madę the
acquaintance of Ignacy Paderewski. The brilliant pianist
commissioned the young artist to execute a statuę of
King Jagiełło to commemorate the 500th anniversary of
the Battle of Grunwald. It was unveiled in Cracow on
10 July 1910. Know as the Grunwald Statuę, it was
planned as a highly expressive, monumental composi-
tion with many figures, and reflecting an academic
spirit. It brought famę to the young artist who was living
kim szkicu X.S.P.M. (MACIĄTEK), Artysta i żołnierz.
[W:] W ręce ojca, [b.m.] 1930.
53. Na chwałę narodu. Pomnik Grunwaldzki w Krakowie
1910-1976. Kraków 1976.
54. Por. Al. SREBRAKOWSKI, Trzy Krzyże w Wilnie.
"Spotkania z Zabytkami" 1989 nr 6 s. 19-22.
- AN ARCHITECT
in Paris at the time. In the winter of 1910, Wiwulski was
commissioned by Countess Maria Zamoyska to make a
new project for a chapel on the Morskie Oko Lakę sińce
the previous competition had not produced satisfactory
results. The artist retumed to his original conception but
this time he shifted from historicising motifs to forms
permeated with expression. Once again, however, the
whole undertaking was abandoned.
The construction of the chapel in Szydłów which
Wiwulski personally supervised, was inaugurated in
1911 according to the earlier plan. The Jesuit church in
Vilno begun in 1913, was based on a newer version of
the original project. The two towers on the faęade were
replaced by a single, unusually slender tower located
behind the presbytery. The church was built with rein-
forced concrete and thus was one of the first ecclesiasti-
cal structure of this type in Europę. By this time, the
artist had moved permanently to Vilno. The outbreak of
World War I interrupted all construction work, and
Wiwulski prepared still newer versions of his projects.
In 1919, the Three Crosses, a monumental complex in
reinforced concrete, was erected according to his design
on the Trzykrzyska Hill, towering over the town.
In January 1919, Antoni Wiwulski was killed during
the defense of Vilno against an attack by Bolsheviks.
The chapel in Szydłów was completed in 1924. Work
on the Heart of Jesus Jesuit church was, however, not
continued for many years. Attheendofthe 1920s, a new
version of the project was based on sketches left by the
artist, with a monumental figurę of Christ in place of the
dome. In 1934, another version was presented by the
Warsaw architect Maksymilian Bystydziński. Work be-
gan in 1937 but was halted by the outbreak of the World
War II.
During the war, occupying German destroyed the
Grunwald Statuę in Cracow. In 1951 Communists
pulled down the Three Crosses in Vilno and in 1964 a
similar fate was shared by the unfinished church of the
Heart of Jesus. The Cracow monument was reconstruc-
ted in 1976, and the Vilno one - in 1989.
Translated by Aleksandra Rodzińska-Chojnowska
70
był ze swojej religijności, "zmarł w atmosferze święto-
ści". Wątek religijny dominuje w wielokrotnie już cyto-
wanej, jedynej monografii artysty napisanej przez o. F.
Świątka. Wydaje się, że publikacja ta była przygotowa-
niem do starań o beatyfikację Wiwulskiego. Religijna i
patriotyczna postawa twórcy podkreślona jest też w krót-
ANTONI WIWULSKI
Antoni Wiwulski (1877-1919) is one of the most
interesting figures in the art of Poland and Lithuania
from early twentieth century. He was active both in the
field of architecture and sculpture. As an architect, Wi-
wulski left only a few projects, including an unfinished
work and one completed building. He was boni in the
Vologda gubernia of northem Russia but his parents
came from Lithuania. Later, Wiwulski attended secon-
dary school in Mitawa in Kurland, and he graduated
from a Jesuit school in Chyrow in Galicia. From 1897
to 1909 he studied architecture in Vienna, and in 1902
he began studying sculpture in Paris at the Ecole des
Beaux Arts in the workshop of Mercier.
By 1903, A. Wiwulski had probably already madę
his first larger architectural project for a chapel in Szyd-
łów (Siluvas) in Samogitia. In 1905, he took part in a
closed competition for the Jesuit church in Cracow.
Although the competition itself did not meet the expec-
tations of its organizers, Wiwulski’s project was regar-
ded as the best. Soon afterwards, he was asked by the
Jesuits from Vilno to plan a church for them. The project
was ready in 1907, and it was an extensive three-nave
basilica with a lofty dome on the nave Crossing and two
towers on the comers of the faęade. The realization of
the plan was abandoned due to conflicts between the
Church hierarchy and the Russian authorities. In 1907
the artist participated in a competition for a chapel on
the Morskie Oko Lakę in the Tatra Mountains. He
presented a project for a monument on a square plan in
the shape of a truncated pyramid which, was not appro-
ved by the organizers.
During his studies in Paris, A. Wiwulski madę the
acquaintance of Ignacy Paderewski. The brilliant pianist
commissioned the young artist to execute a statuę of
King Jagiełło to commemorate the 500th anniversary of
the Battle of Grunwald. It was unveiled in Cracow on
10 July 1910. Know as the Grunwald Statuę, it was
planned as a highly expressive, monumental composi-
tion with many figures, and reflecting an academic
spirit. It brought famę to the young artist who was living
kim szkicu X.S.P.M. (MACIĄTEK), Artysta i żołnierz.
[W:] W ręce ojca, [b.m.] 1930.
53. Na chwałę narodu. Pomnik Grunwaldzki w Krakowie
1910-1976. Kraków 1976.
54. Por. Al. SREBRAKOWSKI, Trzy Krzyże w Wilnie.
"Spotkania z Zabytkami" 1989 nr 6 s. 19-22.
- AN ARCHITECT
in Paris at the time. In the winter of 1910, Wiwulski was
commissioned by Countess Maria Zamoyska to make a
new project for a chapel on the Morskie Oko Lakę sińce
the previous competition had not produced satisfactory
results. The artist retumed to his original conception but
this time he shifted from historicising motifs to forms
permeated with expression. Once again, however, the
whole undertaking was abandoned.
The construction of the chapel in Szydłów which
Wiwulski personally supervised, was inaugurated in
1911 according to the earlier plan. The Jesuit church in
Vilno begun in 1913, was based on a newer version of
the original project. The two towers on the faęade were
replaced by a single, unusually slender tower located
behind the presbytery. The church was built with rein-
forced concrete and thus was one of the first ecclesiasti-
cal structure of this type in Europę. By this time, the
artist had moved permanently to Vilno. The outbreak of
World War I interrupted all construction work, and
Wiwulski prepared still newer versions of his projects.
In 1919, the Three Crosses, a monumental complex in
reinforced concrete, was erected according to his design
on the Trzykrzyska Hill, towering over the town.
In January 1919, Antoni Wiwulski was killed during
the defense of Vilno against an attack by Bolsheviks.
The chapel in Szydłów was completed in 1924. Work
on the Heart of Jesus Jesuit church was, however, not
continued for many years. Attheendofthe 1920s, a new
version of the project was based on sketches left by the
artist, with a monumental figurę of Christ in place of the
dome. In 1934, another version was presented by the
Warsaw architect Maksymilian Bystydziński. Work be-
gan in 1937 but was halted by the outbreak of the World
War II.
During the war, occupying German destroyed the
Grunwald Statuę in Cracow. In 1951 Communists
pulled down the Three Crosses in Vilno and in 1964 a
similar fate was shared by the unfinished church of the
Heart of Jesus. The Cracow monument was reconstruc-
ted in 1976, and the Vilno one - in 1989.
Translated by Aleksandra Rodzińska-Chojnowska
70