DOI Heft:
Nr. 3-4
DOI Artikel:Baranowski, Andrzej Józef: Barok wileński na artystycznej mapie Europy Środkowej
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34475#0350
340
ANDRZEJ JÓZEF BARANOWSKJ
Basilians, the latter being most dynamic in Lwów
(JlbBiB, Ukraine).
in the so far research it has been justiy noted that
there exists some connection between the form of
the Wiino attars and the ritnais of the post-Trident
Church initiated in Rome. Rome's celebrations
copied in graphic art iilustrating the occasional
decoration of (AmrmRore by Pietro da Cortona and
Andrea Pozzo's TAenAmn Wzc/mm, contributed to
popularizing ceremonious services in a rich scenery
in Central European countries and in different
orders.
A similar role was piayed by the works of fresco
artists who, according to Pozzo and Bibiena, painted
illusionistic interiors. Unlike other centres, no major
fresco painters reached Wilno and no new churches
were raised at the time. Therefore the altars were to
play the role of creating 18^-century interiors in
earlier 'architecture'. Helpful in this respect were
most probably prints from Andrea Pozzo's or
Ferdinando Bibiena's treatises. We cannot, however,
pass over closer models and simpler scenery
attempts which led to similar effects. Additionally,
what mattered was the creative encounter of the
Western artistic craftsmanship with the traditional
art of the East.
TAm-y/nAć/ hy Mng&denn /whAkn
ANDRZEJ JÓZEF BARANOWSKJ
Basilians, the latter being most dynamic in Lwów
(JlbBiB, Ukraine).
in the so far research it has been justiy noted that
there exists some connection between the form of
the Wiino attars and the ritnais of the post-Trident
Church initiated in Rome. Rome's celebrations
copied in graphic art iilustrating the occasional
decoration of (AmrmRore by Pietro da Cortona and
Andrea Pozzo's TAenAmn Wzc/mm, contributed to
popularizing ceremonious services in a rich scenery
in Central European countries and in different
orders.
A similar role was piayed by the works of fresco
artists who, according to Pozzo and Bibiena, painted
illusionistic interiors. Unlike other centres, no major
fresco painters reached Wilno and no new churches
were raised at the time. Therefore the altars were to
play the role of creating 18^-century interiors in
earlier 'architecture'. Helpful in this respect were
most probably prints from Andrea Pozzo's or
Ferdinando Bibiena's treatises. We cannot, however,
pass over closer models and simpler scenery
attempts which led to similar effects. Additionally,
what mattered was the creative encounter of the
Western artistic craftsmanship with the traditional
art of the East.
TAm-y/nAć/ hy Mng&denn /whAkn