DOI Page / Citation link:
https://doi.org/10.11588/diglit.41741#0060
feature of a good artist is also the skilful exploit of the artistic output of his predecessors:
on our territory e.g. anonymous author of the sculpture of Virgin and Child in Skrzynno
in the former Opoczno district achieved a skilful synthesis of two well chosen examples:
figures of Madonna from Altenmarkt and Wroclaw — though it is not possible to exclude
some intermediate stages 1 2.
Considering the examples of indviduality in Gothic sculpture of Malopolska (Lesser
Poland) we additionally face the following problem: how should one classify the works
of masters deriving from other artistic environments. As for the author of the high
altar in Our Lady’s church in Cracow we know that he derived, as far as his artistic
education is concerned, from the territories of the southern range of German language.
Also in some other cases of anonymous artists whose works are found on the territory of
Lesser Poland we should assume the achievement of artistic personality on some other
territory. Here I mean the authors of some sculptures clearly distinguishable from the
average production in Lesser Poland. The object of that quality as Pietà in St. Barbara’s
church in Cracow may be included among the more outstanding formulations of this
subject in the European sculpture of the so called International Style —- so we can speak
about the individuality of undoubtedly high rank of its author. However, e.g. the
figures of Virgin and St. John the Evangelist in the Holy Cross church in Cracow which
are clearly distinguishable on the territory of Lesser Poland examined in the context
of Late Gothic sculpture of the southern countries of German language, are more strongly
connected with the local production there and in a way they lose their individuality 3.
Other similar examples are the statues of Virgin and Child and St. Catherine and St.
Margaret from Iwanowice. These interesting figures, now dismembered (the sculptures
of the saints are in Cracow National Museum), come from the box of a wing altar. They
seem to be close to the phenomenon in sculpture of Southern Germany and Austria
called „Parallelfaltenstil”, founding no analogies on the territory of Lesser Poland 4.
And, last but not least, the altar of St. John the Baptist from St. Plorian’s church in
Cracow, indicating the forthcoming Renaissance — also without closer relations in Lesser
Poland, connected rather with southern Germany or maybe Austria5. Summing up:
It is difficult to consider without reserve the authors of three enumerated sets of sculptu-
res, of an otherwise good artistic standard, the „individualities” of Gothic sculpture
in Lesser Poland as they appear on this territory as ephemerons, without clear pre-
decessors and followers, and they are distinguishable against background of Lesser
Poland not only by artistic standard but also by the difference in style in the sense
of geographic surroundings.
It seems, however, that Madonna from Kruzlowa may be considered the object
produced by an anonymous master fo an outstanding individuality in Lesser Poland.
In search for the source of her form different environments and particular examples
were quoted yet6. However, research work has not resulted so far in proving its con-
1 A. M. Olszewski, Niektôre zagadnienia stylu miçâzynarodowego w Polsce. In: Sztuka i ideologici
XV wieku, Warszawa 1978, p. 291, il. 10, 12. — Lately Madonna from Altenmarkt defined as coming
from Prague, before 1393, In: Die Parier..., Resultatband, pi. 121. — The pose of the Child in Skrzynno
draws attention, being closer to the Child on Mother’s arm in sculpture in Stasechovice than in Alten-
markt; figure in Stasechovice also derives from the type od Virgin in Altenmarkt, cs. A. Kutal, Geské
gotické sochasstvi 1350-1450. Praha 1962, p. 115, 116, il. 208, 209.
5 Cf. A. M. Olszewski, Zwiqzki poznogotyckie rzezby malopolskiej z rzezbq poludnioivoniemieckq (copy
from S PAN, lipiec-grudzien 1964, p. 428).
4 Ibidem, p. 427.
6 Ibidem, p. 428. — The faces of angels seem to display analogies to the faces in altar in Mauer near
Melk, (A. Feulner and Th. Müller, Geschichte der deutschen Plastik. München 1953, il. 286, 287, here dated
about 1515). The date of the consecration of the altar stone was found —• 1509. (R. Feuchtmüller, Mauer
bei Melk, 12 Aufl., St. Pölten 1981, p. supernumerary).
6 Cs. Sztuka w Krakowie w latach 1350-1550. Krakow 1964, p. 134-135, No 136, il. 52, there earlier
bibliography. — H. Mçdrek, Typ Piçknej Madonny z Krumlowa w polskiej plasty ce pierwszej polowy
58
on our territory e.g. anonymous author of the sculpture of Virgin and Child in Skrzynno
in the former Opoczno district achieved a skilful synthesis of two well chosen examples:
figures of Madonna from Altenmarkt and Wroclaw — though it is not possible to exclude
some intermediate stages 1 2.
Considering the examples of indviduality in Gothic sculpture of Malopolska (Lesser
Poland) we additionally face the following problem: how should one classify the works
of masters deriving from other artistic environments. As for the author of the high
altar in Our Lady’s church in Cracow we know that he derived, as far as his artistic
education is concerned, from the territories of the southern range of German language.
Also in some other cases of anonymous artists whose works are found on the territory of
Lesser Poland we should assume the achievement of artistic personality on some other
territory. Here I mean the authors of some sculptures clearly distinguishable from the
average production in Lesser Poland. The object of that quality as Pietà in St. Barbara’s
church in Cracow may be included among the more outstanding formulations of this
subject in the European sculpture of the so called International Style —- so we can speak
about the individuality of undoubtedly high rank of its author. However, e.g. the
figures of Virgin and St. John the Evangelist in the Holy Cross church in Cracow which
are clearly distinguishable on the territory of Lesser Poland examined in the context
of Late Gothic sculpture of the southern countries of German language, are more strongly
connected with the local production there and in a way they lose their individuality 3.
Other similar examples are the statues of Virgin and Child and St. Catherine and St.
Margaret from Iwanowice. These interesting figures, now dismembered (the sculptures
of the saints are in Cracow National Museum), come from the box of a wing altar. They
seem to be close to the phenomenon in sculpture of Southern Germany and Austria
called „Parallelfaltenstil”, founding no analogies on the territory of Lesser Poland 4.
And, last but not least, the altar of St. John the Baptist from St. Plorian’s church in
Cracow, indicating the forthcoming Renaissance — also without closer relations in Lesser
Poland, connected rather with southern Germany or maybe Austria5. Summing up:
It is difficult to consider without reserve the authors of three enumerated sets of sculptu-
res, of an otherwise good artistic standard, the „individualities” of Gothic sculpture
in Lesser Poland as they appear on this territory as ephemerons, without clear pre-
decessors and followers, and they are distinguishable against background of Lesser
Poland not only by artistic standard but also by the difference in style in the sense
of geographic surroundings.
It seems, however, that Madonna from Kruzlowa may be considered the object
produced by an anonymous master fo an outstanding individuality in Lesser Poland.
In search for the source of her form different environments and particular examples
were quoted yet6. However, research work has not resulted so far in proving its con-
1 A. M. Olszewski, Niektôre zagadnienia stylu miçâzynarodowego w Polsce. In: Sztuka i ideologici
XV wieku, Warszawa 1978, p. 291, il. 10, 12. — Lately Madonna from Altenmarkt defined as coming
from Prague, before 1393, In: Die Parier..., Resultatband, pi. 121. — The pose of the Child in Skrzynno
draws attention, being closer to the Child on Mother’s arm in sculpture in Stasechovice than in Alten-
markt; figure in Stasechovice also derives from the type od Virgin in Altenmarkt, cs. A. Kutal, Geské
gotické sochasstvi 1350-1450. Praha 1962, p. 115, 116, il. 208, 209.
5 Cf. A. M. Olszewski, Zwiqzki poznogotyckie rzezby malopolskiej z rzezbq poludnioivoniemieckq (copy
from S PAN, lipiec-grudzien 1964, p. 428).
4 Ibidem, p. 427.
6 Ibidem, p. 428. — The faces of angels seem to display analogies to the faces in altar in Mauer near
Melk, (A. Feulner and Th. Müller, Geschichte der deutschen Plastik. München 1953, il. 286, 287, here dated
about 1515). The date of the consecration of the altar stone was found —• 1509. (R. Feuchtmüller, Mauer
bei Melk, 12 Aufl., St. Pölten 1981, p. supernumerary).
6 Cs. Sztuka w Krakowie w latach 1350-1550. Krakow 1964, p. 134-135, No 136, il. 52, there earlier
bibliography. — H. Mçdrek, Typ Piçknej Madonny z Krumlowa w polskiej plasty ce pierwszej polowy
58