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DOI Artikel:Karpowicz, Mariusz: O niektórych figurach w polskich nagrobkach XVI-XVII w.
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34904#0066
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MARIUSZ KARPOWICZ
Corcerrńig ćW/eAyigMre^ o/Poń3ń ^urcopńugiyfow Ae
76tń ć//;c/ 77tń ceiitur/ey
The author summarises his articie on the basis of the
foHowing four parts:
1. The semi-rechning form of representational
scuipture was introduced in the territories of pre-
partition Poland by the somewhat secretive Italian
scuiptor, "Johannes Piaentinus". It is possibie to
confirm his presence in Poland during the years
1555-65. The arrangement of his semi-reclining
figures was clearly dependent on the art of Michel-
angelo as well as ancient sculptures representing river
divinities. Piaentinus (bom in Pienza) exerted an es-
sential influence on Cracovian scuipture in the second
half of the 16th century; in particular, on Gerolamo
Canavesi (Lugano 1521 - Cracow 1582) as well as
Sante Gucci (Florence 1533 - Cracow 1600).
2. The Bemadine church in Lublin contains a
tombstone mistakenly identified as well as dated, to
the year 1598. In actual fact, it was created by
Gerolamo Canavesi in 1565 and it represents the
magnate Gabriel Tarło, a courtesan to the royal court.
3. The most beautiful Polish tombstone figurę is
to be found in the town of Czarnków (Poznań
voivodeship), which dates back to around 1570-80
and represents the magnate Maciej Czamkowski.
The instantaneously captured, twisting movement of
the figurę is a unique phenomenon in Polish
sepulchral art, repeating the figurę of St. Lawrence
in Angelo Bronzino's fresco in Florence's S.
Lorenzo church (1565). In terms of artistry and
technique, the Czamkowski figurę is superior to
anything else that Polish art produced throughout the
16th century, and it was created by an unknown Flo-
rentine scuiptor whose other works cannot be
attributed to him until his identity is established.
4. Three figures from the church at Kórnik near
Poznań have been associated with the Flemish
scuiptor, Hendrik Horst, when in actual fact just one
of these was a work of his, while the other two would
have been created by other sculptors. The second of
these, active in Poznań from the beginning of the
17th century, produced his finest piece of art at
Cracow, this being the cast bronze tablet depicting
the figurę of Erazm Danigiel (ca. 1620) in the city's
St. Mary church.
7Av7i,s7ote<7 ńy Peter TCrtyr
MARIUSZ KARPOWICZ
Corcerrńig ćW/eAyigMre^ o/Poń3ń ^urcopńugiyfow Ae
76tń ć//;c/ 77tń ceiitur/ey
The author summarises his articie on the basis of the
foHowing four parts:
1. The semi-rechning form of representational
scuipture was introduced in the territories of pre-
partition Poland by the somewhat secretive Italian
scuiptor, "Johannes Piaentinus". It is possibie to
confirm his presence in Poland during the years
1555-65. The arrangement of his semi-reclining
figures was clearly dependent on the art of Michel-
angelo as well as ancient sculptures representing river
divinities. Piaentinus (bom in Pienza) exerted an es-
sential influence on Cracovian scuipture in the second
half of the 16th century; in particular, on Gerolamo
Canavesi (Lugano 1521 - Cracow 1582) as well as
Sante Gucci (Florence 1533 - Cracow 1600).
2. The Bemadine church in Lublin contains a
tombstone mistakenly identified as well as dated, to
the year 1598. In actual fact, it was created by
Gerolamo Canavesi in 1565 and it represents the
magnate Gabriel Tarło, a courtesan to the royal court.
3. The most beautiful Polish tombstone figurę is
to be found in the town of Czarnków (Poznań
voivodeship), which dates back to around 1570-80
and represents the magnate Maciej Czamkowski.
The instantaneously captured, twisting movement of
the figurę is a unique phenomenon in Polish
sepulchral art, repeating the figurę of St. Lawrence
in Angelo Bronzino's fresco in Florence's S.
Lorenzo church (1565). In terms of artistry and
technique, the Czamkowski figurę is superior to
anything else that Polish art produced throughout the
16th century, and it was created by an unknown Flo-
rentine scuiptor whose other works cannot be
attributed to him until his identity is established.
4. Three figures from the church at Kórnik near
Poznań have been associated with the Flemish
scuiptor, Hendrik Horst, when in actual fact just one
of these was a work of his, while the other two would
have been created by other sculptors. The second of
these, active in Poznań from the beginning of the
17th century, produced his finest piece of art at
Cracow, this being the cast bronze tablet depicting
the figurę of Erazm Danigiel (ca. 1620) in the city's
St. Mary church.
7Av7i,s7ote<7 ńy Peter TCrtyr