DOI issue:
Nr. 3-4
DOI article:Sito, Jakub: Działalność rzeźbiarza Tomasza Huttera w Ziemii Przemyskiej
DOI Page / Citation link:https://doi.org/10.11588/diglit.48918#0354
JAKUB SITO
ków, 1973 s. 104 stwierdził że "ołtarz [...] w Rzeszowie
jest wyraźnie oparty na tylmanowskich wzorach". Tenże
autor jako pierwszy związał ołtarz warszawski z osobą
Tyimana (ibidem, s. 256).
58. O związkach Tyimana z Rzeszowem i Hieronimem Au-
gustynem Lubomirskim pisze MOSSAKOWSKI, o.c.,
m.in. s. 22, 26, 28,157-158, 249-252.
59. J. KOWALCZYK, Ołtarze w Tyczynie a wzory Pozza.
[W:] Podług nieba i zwyczaju polskiego. Studia z historii
sztuki i kultury ofiarowane Adamowi Milobędzkiemu.
Warszawa 1988 s. 363.
Jakub Sito
THE ARTISTIC CREATIVITY OF SCULPTOR THOMAS HUTTER
IN PRZEMYŚL PROVINCE
Summary
The inain characteristic of art in the south-eastem
lands of the Polish-Lithuanian Commonwealth, inclu-
ding sculpture, during the late-Baroque era was its mar-
ked decentralisation and the large nutnber of artistic
centres, including large and smali towns alike, magnate
mansions and the chain of monasteries. The town of
Jarosław in the Province of Przemyśl was one such
centre, housing the sculptural workshop of Thomas
Hutter which was active throughout the wide territorial
area of Little Poland (Małopolska) and Ukrainian Rut-
henia (Ruś) in the period c,1723-’45. Comparatively
well-preserved sources have allowed the tracing of this
artist’scareer. The sculptor wasbornin 1696 in Bavaria
and, arriving in Poland was admitted into the Jesuit order
in 1718 whom he left several years later in order to
operate thereafter as a secular sculptor based initially in
Sandomierz, setting himself up from around 1730 in
Jarosław. One of Hutter’s main commissioners was the
bishop of Przemyśl, as well as the Jesuit and Bernardine
orders, for the latter of whom he executed his single
largest work in his career, the interior fumishings of the
church of St. Andrew in L’vov. For the Jesuits of Jaro-
sław he in turn sculpted in the years 1730-’32 the mag-
nificent gallery comprising four holy figures in stone
which represents his earliest work in the Przemyśl lands,
carrying a few years later for the same order the altar of
the Sacred Heart of Jesus. These three works documen-
ted in the archives may be treated as a starting point in
reconstructing the artistic activity of Thomas Hutter in
Przemyśl Province. The most important works deser-
ving mention, apart from those previously mentioned,
are: the interior fumishings of the cathedral and bishop
AleksanderFredro’s sepulchral chapel in Przemyśl, two
great altars in the chapels of the Bernardine Church at
Rzeszów, commissioned by Jerzy Ignacy Lubomirski in
1741 and 1745-’6, as well as the main altars of parish
churches at Kuryłówka and Łąka near Rzeszów.
The great number of commissions, frequently re-
ceived simultaneously, led to the workshop’s extension
to untypically large dimensions. In the finał period of
his artistic activity, Hutter conducted his own form of
"enterprise". He rarely took part directly in sculpting,
employing his own retinue of craftsmen and curtailing
his own work to making the designs and models of
sculptures.
Hutter was fortunate in having no serious individual
sculptors in Przemyśl region during his period of axcti-
vity to compete with his workshop, although he did not
lower the standard of his works. The high standard in
the eyes of his contemporaries and the label attached to
him of "statuarius excellens" were to accompany him
until his death and ensured his contribution in all the
most significant undertakings of that time. Hutter’s
sculptural work occupies a prominent position in the
late-Baroque sculpture of Przemyśl Province where it
was to be imitated until the end of the 18th century.
Transłated by Peter Martyn
338
ków, 1973 s. 104 stwierdził że "ołtarz [...] w Rzeszowie
jest wyraźnie oparty na tylmanowskich wzorach". Tenże
autor jako pierwszy związał ołtarz warszawski z osobą
Tyimana (ibidem, s. 256).
58. O związkach Tyimana z Rzeszowem i Hieronimem Au-
gustynem Lubomirskim pisze MOSSAKOWSKI, o.c.,
m.in. s. 22, 26, 28,157-158, 249-252.
59. J. KOWALCZYK, Ołtarze w Tyczynie a wzory Pozza.
[W:] Podług nieba i zwyczaju polskiego. Studia z historii
sztuki i kultury ofiarowane Adamowi Milobędzkiemu.
Warszawa 1988 s. 363.
Jakub Sito
THE ARTISTIC CREATIVITY OF SCULPTOR THOMAS HUTTER
IN PRZEMYŚL PROVINCE
Summary
The inain characteristic of art in the south-eastem
lands of the Polish-Lithuanian Commonwealth, inclu-
ding sculpture, during the late-Baroque era was its mar-
ked decentralisation and the large nutnber of artistic
centres, including large and smali towns alike, magnate
mansions and the chain of monasteries. The town of
Jarosław in the Province of Przemyśl was one such
centre, housing the sculptural workshop of Thomas
Hutter which was active throughout the wide territorial
area of Little Poland (Małopolska) and Ukrainian Rut-
henia (Ruś) in the period c,1723-’45. Comparatively
well-preserved sources have allowed the tracing of this
artist’scareer. The sculptor wasbornin 1696 in Bavaria
and, arriving in Poland was admitted into the Jesuit order
in 1718 whom he left several years later in order to
operate thereafter as a secular sculptor based initially in
Sandomierz, setting himself up from around 1730 in
Jarosław. One of Hutter’s main commissioners was the
bishop of Przemyśl, as well as the Jesuit and Bernardine
orders, for the latter of whom he executed his single
largest work in his career, the interior fumishings of the
church of St. Andrew in L’vov. For the Jesuits of Jaro-
sław he in turn sculpted in the years 1730-’32 the mag-
nificent gallery comprising four holy figures in stone
which represents his earliest work in the Przemyśl lands,
carrying a few years later for the same order the altar of
the Sacred Heart of Jesus. These three works documen-
ted in the archives may be treated as a starting point in
reconstructing the artistic activity of Thomas Hutter in
Przemyśl Province. The most important works deser-
ving mention, apart from those previously mentioned,
are: the interior fumishings of the cathedral and bishop
AleksanderFredro’s sepulchral chapel in Przemyśl, two
great altars in the chapels of the Bernardine Church at
Rzeszów, commissioned by Jerzy Ignacy Lubomirski in
1741 and 1745-’6, as well as the main altars of parish
churches at Kuryłówka and Łąka near Rzeszów.
The great number of commissions, frequently re-
ceived simultaneously, led to the workshop’s extension
to untypically large dimensions. In the finał period of
his artistic activity, Hutter conducted his own form of
"enterprise". He rarely took part directly in sculpting,
employing his own retinue of craftsmen and curtailing
his own work to making the designs and models of
sculptures.
Hutter was fortunate in having no serious individual
sculptors in Przemyśl region during his period of axcti-
vity to compete with his workshop, although he did not
lower the standard of his works. The high standard in
the eyes of his contemporaries and the label attached to
him of "statuarius excellens" were to accompany him
until his death and ensured his contribution in all the
most significant undertakings of that time. Hutter’s
sculptural work occupies a prominent position in the
late-Baroque sculpture of Przemyśl Province where it
was to be imitated until the end of the 18th century.
Transłated by Peter Martyn
338