DOI issue:
Nr. 1-2
DOI article:Artykuły
DOI article:Kozak, Anna: Sigmund Lipinsky a sztuka niemiecka w rzymie
DOI Page / Citation link:https://doi.org/10.11588/diglit.48914#0064
ANNA KOZAK
54. H. THODE, o. c., s. 483.
55. P. SPRINGER, Berliner Bildhauer des 19. Jahrhunderts
in Rom. [W:] Ethos und Pathos. Die Berliner Bildhauer-
schule 1 786-1914. Eine Ausstellung der Skulpturengale-
rie der Staatlichen Museen Preussischer Kulturbesitz vom
19. Mai bis 29. Juli 1990 im Hamburger Bahnhof. Berlin
1990 s. 65-66.
Anna Kozak
SIGMUND LIPINSKY AND GERMAN ART IN ROME
Summary
The article examines the works of Sigmund Lipinsky
(1873-1940), a forgotten German painter active mainly
in Italy. It arose in connection with an exhibition of the
artist's engravings at the Łowicz Muzeum in 1995. The
collection exhibited there was subsequently donated to
the National Museum in Warsaw by the artist's inheritors,
Donatella Episcopo-Lipinsky and Ubaldo Episcopo. As
in the case of most Lipinsky paintings, it demonstrates
his links with the so-called Deutschrómertum
movement of German artists in Rome, and in particular
the final more significant wave in which Arnold
Bócklin, Hans von Marees and Anselm Feuerbach are
usually placed. Such links are clearly visible in his
approach to Italian landscape and the idyllic search in it
for primaeval nature. In this respect the artist ca me close
to such Deutsch-Rómer painters as Bócklin, Thoma and
Edmund Kanoldt. Another idyllic aspect to his work is
reflected in his vision of antiquity. Lipinsky owed much
in this vision to the works of Marees, Ludwig von
Hoffmann, Adolf von Hildebrand, Thoma and Albert
Lang. Moreover, Lipinsky's adoption of the idea of the
human age connects him with the Deutschrómertum
tradition discussed in the article, together with the
important role of fantasy in his works. This second
feature brings him nearto such artists as Thoma and Max
Klinger. Beyond his links with the Deutschrómertum,
the influence of Jugendstil on Lipinsky's work is also
considered.
Translated by Peter Martyn
54
54. H. THODE, o. c., s. 483.
55. P. SPRINGER, Berliner Bildhauer des 19. Jahrhunderts
in Rom. [W:] Ethos und Pathos. Die Berliner Bildhauer-
schule 1 786-1914. Eine Ausstellung der Skulpturengale-
rie der Staatlichen Museen Preussischer Kulturbesitz vom
19. Mai bis 29. Juli 1990 im Hamburger Bahnhof. Berlin
1990 s. 65-66.
Anna Kozak
SIGMUND LIPINSKY AND GERMAN ART IN ROME
Summary
The article examines the works of Sigmund Lipinsky
(1873-1940), a forgotten German painter active mainly
in Italy. It arose in connection with an exhibition of the
artist's engravings at the Łowicz Muzeum in 1995. The
collection exhibited there was subsequently donated to
the National Museum in Warsaw by the artist's inheritors,
Donatella Episcopo-Lipinsky and Ubaldo Episcopo. As
in the case of most Lipinsky paintings, it demonstrates
his links with the so-called Deutschrómertum
movement of German artists in Rome, and in particular
the final more significant wave in which Arnold
Bócklin, Hans von Marees and Anselm Feuerbach are
usually placed. Such links are clearly visible in his
approach to Italian landscape and the idyllic search in it
for primaeval nature. In this respect the artist ca me close
to such Deutsch-Rómer painters as Bócklin, Thoma and
Edmund Kanoldt. Another idyllic aspect to his work is
reflected in his vision of antiquity. Lipinsky owed much
in this vision to the works of Marees, Ludwig von
Hoffmann, Adolf von Hildebrand, Thoma and Albert
Lang. Moreover, Lipinsky's adoption of the idea of the
human age connects him with the Deutschrómertum
tradition discussed in the article, together with the
important role of fantasy in his works. This second
feature brings him nearto such artists as Thoma and Max
Klinger. Beyond his links with the Deutschrómertum,
the influence of Jugendstil on Lipinsky's work is also
considered.
Translated by Peter Martyn
54