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DOI Artikel:Grochala, Anna: Allegorischer Porträtstich Sigismunds III. Wasa von Aegidius Sadeler
DOI Artikel:Jaroszewski, Tadeusz Stefan: "Karl Friedrich Schinkel and the Poles": Exhibition in the National Museum in Warsaw
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18904#0087
Der Themenkreis, die Darstellungsart und die Ideen der Kunst am Hofe Rudolfa II. wąręn
mit der allgemeinen Stróinung der europaischen Kunstverbunden. Sadelęrs Portratśtieh-des
polnischen Konigs gehort der rudolfinisehen, vor allem aber der europaischen Kunst an und
weicht in seiner Charakteristik nicht vom Portratstich des Kaisers ab. Man mufi jedoch annehmen,
daG Sadeler vom polnischen Hof genaue Anwcisungen beziiglich der Texte, Anspielungen und
Zitate bekommen hat, die sich auf dem Stich befinden sollten44. So cntstand etwas, das spezi-
fisch polnisclie Elemente mit rudolfinischer Atmosphare und Ausftthrung verband.
Obersetzt von Barbara Ostrowska
Tadeusz S. Jaroszewski
„KARL FRIEDRICH SCHINKEL AND THE POLES".
EXHIBITION IN THE NATIONAL MUSEUM IN WARSAW
The exhibition Karl Friedrich Sehinkel and the Poles, hcld in the National Museum in Warsaw
in September and Octobcr 1987, was the first display to show to the Polish public the work of
this outstanding Prussian architect1. The 200th anniyersary of Schinkel's birth and the 140th
anniversary of his death werc celebrated in 1981 in the two German states and in West Berlin.
The exhibifion showed those projects that Sehinkel produced for his Polish customers and
which.so far have not been given due attention by art historians who have neglected to
show their importance and place in the whole of Schinkel's architectural achievement. This
exhibition, or rather its catalogue, was an atlempt at proyiding a new characteristics of Schin-
kel's oeuvre. Authors of the exhibition had also one more aim in view, to present definitc ma-
teriał indispensable in a newr appraisal of the Polish-German artistic links of the first half of
the 19th century. These links, which played an important part in the culture of both countries
and which for many reasons later became deformed by subsequent events, should finally be
thoroughly and honestly analyzed without recourse bcing made to political rhetoric.
Mutual artistic relations were indeed essential in the cultural development of Poland and
Germany. It was Atanazy Raczyński who was Schinkel's patron in Poland. Thanks to Ra-
czyński, in late 1815 and early 1816 Father Teofil Wolicki, at the time archdeacon of the Poznań
Cathedral, got in touch with the architect and had him design an imposing monument of the
]. The curators of the eshibition were — the author of this eommunination, Dr, Waldemar Baraniewski of Warsnw University,
aad Krzysztof Załęski of the National Museum in Warsaw.
77
mit der allgemeinen Stróinung der europaischen Kunstverbunden. Sadelęrs Portratśtieh-des
polnischen Konigs gehort der rudolfinisehen, vor allem aber der europaischen Kunst an und
weicht in seiner Charakteristik nicht vom Portratstich des Kaisers ab. Man mufi jedoch annehmen,
daG Sadeler vom polnischen Hof genaue Anwcisungen beziiglich der Texte, Anspielungen und
Zitate bekommen hat, die sich auf dem Stich befinden sollten44. So cntstand etwas, das spezi-
fisch polnisclie Elemente mit rudolfinischer Atmosphare und Ausftthrung verband.
Obersetzt von Barbara Ostrowska
Tadeusz S. Jaroszewski
„KARL FRIEDRICH SCHINKEL AND THE POLES".
EXHIBITION IN THE NATIONAL MUSEUM IN WARSAW
The exhibition Karl Friedrich Sehinkel and the Poles, hcld in the National Museum in Warsaw
in September and Octobcr 1987, was the first display to show to the Polish public the work of
this outstanding Prussian architect1. The 200th anniyersary of Schinkel's birth and the 140th
anniversary of his death werc celebrated in 1981 in the two German states and in West Berlin.
The exhibifion showed those projects that Sehinkel produced for his Polish customers and
which.so far have not been given due attention by art historians who have neglected to
show their importance and place in the whole of Schinkel's architectural achievement. This
exhibition, or rather its catalogue, was an atlempt at proyiding a new characteristics of Schin-
kel's oeuvre. Authors of the exhibition had also one more aim in view, to present definitc ma-
teriał indispensable in a newr appraisal of the Polish-German artistic links of the first half of
the 19th century. These links, which played an important part in the culture of both countries
and which for many reasons later became deformed by subsequent events, should finally be
thoroughly and honestly analyzed without recourse bcing made to political rhetoric.
Mutual artistic relations were indeed essential in the cultural development of Poland and
Germany. It was Atanazy Raczyński who was Schinkel's patron in Poland. Thanks to Ra-
czyński, in late 1815 and early 1816 Father Teofil Wolicki, at the time archdeacon of the Poznań
Cathedral, got in touch with the architect and had him design an imposing monument of the
]. The curators of the eshibition were — the author of this eommunination, Dr, Waldemar Baraniewski of Warsnw University,
aad Krzysztof Załęski of the National Museum in Warsaw.
77