DOI Artikel:
Smorąg Różycka, Małgorzata: ‘She begged the child: Let me embrace thee, Lord!’ A Byzantine icon with the Virgin Eleousa in the Poor Clares Convent in Cracow
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.44936#0012
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6. The Virgin Blachernitissa, 1403-1405, cod. Louvre A53, fol. Г (detail), Constantinople. Photo: after Byzance.
L’art byzantin dans les collections publiques françaises, Paris, 1992
approximately to the mid-eleventh century, was indeed
produced in this milieu. It is generally assumed that it was
intended for the Novgorod Cathedral of Saint Sophia, but
owing to its substantial size (2.36 x 1.47 m) was never part
of the iconostasis.27 The uncovered parts of chitons of both
Apostles revealed areas of bright blue paint.
Another group of comparative material can be found
in the works of art from the artistic circles of the Kingdom
of Serbia in the Palaiologan era (1261-1453).
A brightened-up palette - especially the bright blue
tones with additional white highlights in the tonal model-
ling of the garments - similar to that of the Cracow icon,
can be seen in the frescoes of the Holy Trinity Church at
Sopoćani, from about 1265, commissioned by King Stefan
Uroś I Milutin (1243-1276).28 Similarities extend also to
the physiognomical types, with their rounded oval faces.
The frescoes belong to the first period of Palaiologan
painting.
It should be remembered that scholars usually distin-
guish two main periods in Palaiologan painting. The first
one, spanning the last decades of the thirteenth and the
27 V.N. Lazarev, Russkaia ikonopis', pp. 33,163 (as in note 20).
28 VJ. Djurić, ‘La peinture murale serbe du XIIIe siècle’, in Bart
byzantin du XIIIe siècle. Symposium de Sopoćani 1965, Belgrade,
1967, pp. 151-153,159; T. Velmans, ‘Les valeurs affectives dans la
peinture murale byzantine au XIIIe siècle et la manière de les re-
présenter’, in ibidem, pp. 52-54.
first quarter of the fourteenth century, is characterised by
free, painterly style. The subsequent, second, period is dis-
tinguished by an expressive linear manner which at the
end of the fourteenth century evolved into academic man-
nerism.29 The principal feature of painting in this period
was the return to classical style and a repertory of ancient
29 See V.N. Lazarev, Istoriia vizantiiskoi zhivopisi, 2 vols, rev. edn,
Moscow, 1986 (ist edn: Moscow, 1947-1948), pp. 156-189, with
ample literature in the notes; A. Xyngopoulos, Thessalonique
et la peinture macédonienne, Athens, 1955; О. Demus, ‘Die
Entstehung des Paläologenstils in der Malerei’, in Berichte zum
XI. Internationalen Byzantinisten-Kongreß, Munich, 1958, pp.
1-63; idem, ‘The Style of the Kariye Djami and its Place in the
Development of Palaeologan Art’, in The Kariye Djami, ed. by
P. Underwood, New York, 1966, vol. IV, pp. 107-160; S. Radojćić,
‘Die Entstehung der Malerei der paläologischen Renaissance’,
Jahrbuch der österreichischen Byzantinistik, 7, 1958, pp. 105-
123; A. Grabar, ‘Les sources des peintres byzantins des XIIIe
et XIVe siècles’, Cahiers Archéologiques, XII, 1962, pp. 351-380;
M. Chatzidakis, ‘Classicisme et tendences populaires au
XIVe siècle’, in Congres International des Études Byzantines,
Bucarest 6-12 Septembre 1971, Bucharest, 1974, vol. I, pp. 153-188;
H. Belting, C. Mango, D. Mouriki, The Mosaics and Frescoes
of St. Mary Pammakaristos (as in note 17); D. Mouriki, ‘Stylistic
Trends in Monumental Painting of Greece at the Beginning of
the Fourteenth Century’, in Bart byzantin au début du XIV siècle.
Symposium de Graćanica 1973, Belgrade, 1978, pp. 55-83.
6. The Virgin Blachernitissa, 1403-1405, cod. Louvre A53, fol. Г (detail), Constantinople. Photo: after Byzance.
L’art byzantin dans les collections publiques françaises, Paris, 1992
approximately to the mid-eleventh century, was indeed
produced in this milieu. It is generally assumed that it was
intended for the Novgorod Cathedral of Saint Sophia, but
owing to its substantial size (2.36 x 1.47 m) was never part
of the iconostasis.27 The uncovered parts of chitons of both
Apostles revealed areas of bright blue paint.
Another group of comparative material can be found
in the works of art from the artistic circles of the Kingdom
of Serbia in the Palaiologan era (1261-1453).
A brightened-up palette - especially the bright blue
tones with additional white highlights in the tonal model-
ling of the garments - similar to that of the Cracow icon,
can be seen in the frescoes of the Holy Trinity Church at
Sopoćani, from about 1265, commissioned by King Stefan
Uroś I Milutin (1243-1276).28 Similarities extend also to
the physiognomical types, with their rounded oval faces.
The frescoes belong to the first period of Palaiologan
painting.
It should be remembered that scholars usually distin-
guish two main periods in Palaiologan painting. The first
one, spanning the last decades of the thirteenth and the
27 V.N. Lazarev, Russkaia ikonopis', pp. 33,163 (as in note 20).
28 VJ. Djurić, ‘La peinture murale serbe du XIIIe siècle’, in Bart
byzantin du XIIIe siècle. Symposium de Sopoćani 1965, Belgrade,
1967, pp. 151-153,159; T. Velmans, ‘Les valeurs affectives dans la
peinture murale byzantine au XIIIe siècle et la manière de les re-
présenter’, in ibidem, pp. 52-54.
first quarter of the fourteenth century, is characterised by
free, painterly style. The subsequent, second, period is dis-
tinguished by an expressive linear manner which at the
end of the fourteenth century evolved into academic man-
nerism.29 The principal feature of painting in this period
was the return to classical style and a repertory of ancient
29 See V.N. Lazarev, Istoriia vizantiiskoi zhivopisi, 2 vols, rev. edn,
Moscow, 1986 (ist edn: Moscow, 1947-1948), pp. 156-189, with
ample literature in the notes; A. Xyngopoulos, Thessalonique
et la peinture macédonienne, Athens, 1955; О. Demus, ‘Die
Entstehung des Paläologenstils in der Malerei’, in Berichte zum
XI. Internationalen Byzantinisten-Kongreß, Munich, 1958, pp.
1-63; idem, ‘The Style of the Kariye Djami and its Place in the
Development of Palaeologan Art’, in The Kariye Djami, ed. by
P. Underwood, New York, 1966, vol. IV, pp. 107-160; S. Radojćić,
‘Die Entstehung der Malerei der paläologischen Renaissance’,
Jahrbuch der österreichischen Byzantinistik, 7, 1958, pp. 105-
123; A. Grabar, ‘Les sources des peintres byzantins des XIIIe
et XIVe siècles’, Cahiers Archéologiques, XII, 1962, pp. 351-380;
M. Chatzidakis, ‘Classicisme et tendences populaires au
XIVe siècle’, in Congres International des Études Byzantines,
Bucarest 6-12 Septembre 1971, Bucharest, 1974, vol. I, pp. 153-188;
H. Belting, C. Mango, D. Mouriki, The Mosaics and Frescoes
of St. Mary Pammakaristos (as in note 17); D. Mouriki, ‘Stylistic
Trends in Monumental Painting of Greece at the Beginning of
the Fourteenth Century’, in Bart byzantin au début du XIV siècle.
Symposium de Graćanica 1973, Belgrade, 1978, pp. 55-83.