DOI Page / Citation link:
https://doi.org/10.11588/diglit.41741#0061
vincing connection with any of the foreign environments; some research workers were
inclined to accept the execution of the object in Lesser Poland. Against the background
of Lesser Poland environment Madonna from Kruzlowa is distinguished by its especially
high standard of artistic execution, representing a perfect modification of Beautiful
Madonnas type. Dense rhythm of folds, graphic in its expression, emphasizes the tendency
to decorative effects. Virgin’s pose and the way she is holding the Child reminds of the
court style.
Strong individuality was also represented by the author of figure of Virgin and
Child from Waganowice (il. 41)* * * 7. Here also the decorative problems are important leit-
motiv in the artistic shaping of the form. The folds seem to be less graphic, the bend of
the figure stronger, different pose of Child. Similarly to Madonna from Kruzlowa, Ma-
donna from Waganowice is distinguished both by artistic conception and technical
standard of execution.
The statue of Virgin and Child belonging to the church in Kazimierz nad Wislq
is one of rather interesting examples of „amphora” type figures — with the narrowing
of line in the section of knees, changing higher in the oval silhouette os the sigure.
„Bohemian knee”, three arc-shaped folds in front, decoratively curved lines of the border
of the mantle on her both sides — this is an arsenal os forms typical of Beautiful Ma-
donnas style. Inclined head of the Virgin constitutes a line nearly parallel to Child’s
figure shown by Madonna to the spectator. M. Walicki described the sculpture as deriving
from Lesser Poland workshop, J. E. Dutkiewicz from the Cracow one8. The sigure has
stronger or weaker analogies in disferent regions of Poland, being the most mature and
at the same time gracesul object of the „amphora” type. Particularly strong similarities
connect Madonna from Kazimierz with figure of Virgin and Child in Brudzewo in former
Slupia district and in Sieradz 9. The similarities are so far-reaching that they prove
dependence. Figures from Brudzewo and Sieradz are different in some details which
both have in common with the figure from Kazimierz 10. It suggests the last one is the
giving* party — moreover it seems stylistically best. Consequently, are these three
figures to represent the problem of the present paper: the one from Kazimierz in-
dividuality, the ones in Brudzewo and Sieradz „serial” production based on the master’s
model1? Moreover, the figures from Brudzewo and Sieradz do not seem to come from the
same workshop (considering type of face only).
The quoted examples of sculptures which are the works of outstanding authors
represent this type of „individuality” which is distinguished from „mediocrity” due to
the artistic standard of the objects. It seems, however, one can speak about another
type of individuality. Here we will consider the sculptor who hi no way represents par-
ticularly high artistic standard; however, he is clearly distinguished against the back-
ground of his contemporaries and so are his works — or the ones of his workshop —
which form a group easily separated from the mass of the anonymous production of
sculptures.
Here I mean the Master of Przydonica Passion having his workshop probably in
Nowy Sqcz or Biecz in years 1500 to 1530. The works of this workshop are characterized
XV wieku, RH, XIX, 1971, p. 58-59. —• K. H. Clasen, Der Meister der schönen Madonnen. Berlin-New
York 1974, p. 149, 208, il. 409, 410. — (M. Kopff). In: Die Parier...,p. 489. — Olszewski, Niektôrezagadnie-
nia..., p. 296-7, il. 17. — T. Dobrzeniecki, Rzezba sakralna w Polsce. Warszawa 1980, p. 40-41, No 163, 164.
7 Mçdrelc o. e., p. 61, il. 18. — Olszewski, Niektôre zagadnienia..., p. 297, il. 20.
s M. Walicki, Polska sztuka gotycka. Katalog wystawy, 1935, No 60, p. 24, pi. XXVII. — J. E. Dut-
kiewicz, Malopolska rzezba éredniowieczna 1300-1450. Krakôw 1949, No 58, p. 124.
’ KZS Y, n. 22, ed. T. Ruszczynska, A. Slawska, Warszawa 1960, il. 59. — Dobrzeniecki, o. e.,
il. 172.
10 Pose of the Child in the sculpture from Brudzewo is similar to the figure from Kazimierz and
different than in Sieradz. The lower fragments of Virgin’s attire in Sieradz are similar to the sculpture
from Kazimierz and slightly different in Brudzewo.
59
inclined to accept the execution of the object in Lesser Poland. Against the background
of Lesser Poland environment Madonna from Kruzlowa is distinguished by its especially
high standard of artistic execution, representing a perfect modification of Beautiful
Madonnas type. Dense rhythm of folds, graphic in its expression, emphasizes the tendency
to decorative effects. Virgin’s pose and the way she is holding the Child reminds of the
court style.
Strong individuality was also represented by the author of figure of Virgin and
Child from Waganowice (il. 41)* * * 7. Here also the decorative problems are important leit-
motiv in the artistic shaping of the form. The folds seem to be less graphic, the bend of
the figure stronger, different pose of Child. Similarly to Madonna from Kruzlowa, Ma-
donna from Waganowice is distinguished both by artistic conception and technical
standard of execution.
The statue of Virgin and Child belonging to the church in Kazimierz nad Wislq
is one of rather interesting examples of „amphora” type figures — with the narrowing
of line in the section of knees, changing higher in the oval silhouette os the sigure.
„Bohemian knee”, three arc-shaped folds in front, decoratively curved lines of the border
of the mantle on her both sides — this is an arsenal os forms typical of Beautiful Ma-
donnas style. Inclined head of the Virgin constitutes a line nearly parallel to Child’s
figure shown by Madonna to the spectator. M. Walicki described the sculpture as deriving
from Lesser Poland workshop, J. E. Dutkiewicz from the Cracow one8. The sigure has
stronger or weaker analogies in disferent regions of Poland, being the most mature and
at the same time gracesul object of the „amphora” type. Particularly strong similarities
connect Madonna from Kazimierz with figure of Virgin and Child in Brudzewo in former
Slupia district and in Sieradz 9. The similarities are so far-reaching that they prove
dependence. Figures from Brudzewo and Sieradz are different in some details which
both have in common with the figure from Kazimierz 10. It suggests the last one is the
giving* party — moreover it seems stylistically best. Consequently, are these three
figures to represent the problem of the present paper: the one from Kazimierz in-
dividuality, the ones in Brudzewo and Sieradz „serial” production based on the master’s
model1? Moreover, the figures from Brudzewo and Sieradz do not seem to come from the
same workshop (considering type of face only).
The quoted examples of sculptures which are the works of outstanding authors
represent this type of „individuality” which is distinguished from „mediocrity” due to
the artistic standard of the objects. It seems, however, one can speak about another
type of individuality. Here we will consider the sculptor who hi no way represents par-
ticularly high artistic standard; however, he is clearly distinguished against the back-
ground of his contemporaries and so are his works — or the ones of his workshop —
which form a group easily separated from the mass of the anonymous production of
sculptures.
Here I mean the Master of Przydonica Passion having his workshop probably in
Nowy Sqcz or Biecz in years 1500 to 1530. The works of this workshop are characterized
XV wieku, RH, XIX, 1971, p. 58-59. —• K. H. Clasen, Der Meister der schönen Madonnen. Berlin-New
York 1974, p. 149, 208, il. 409, 410. — (M. Kopff). In: Die Parier...,p. 489. — Olszewski, Niektôrezagadnie-
nia..., p. 296-7, il. 17. — T. Dobrzeniecki, Rzezba sakralna w Polsce. Warszawa 1980, p. 40-41, No 163, 164.
7 Mçdrelc o. e., p. 61, il. 18. — Olszewski, Niektôre zagadnienia..., p. 297, il. 20.
s M. Walicki, Polska sztuka gotycka. Katalog wystawy, 1935, No 60, p. 24, pi. XXVII. — J. E. Dut-
kiewicz, Malopolska rzezba éredniowieczna 1300-1450. Krakôw 1949, No 58, p. 124.
’ KZS Y, n. 22, ed. T. Ruszczynska, A. Slawska, Warszawa 1960, il. 59. — Dobrzeniecki, o. e.,
il. 172.
10 Pose of the Child in the sculpture from Brudzewo is similar to the figure from Kazimierz and
different than in Sieradz. The lower fragments of Virgin’s attire in Sieradz are similar to the sculpture
from Kazimierz and slightly different in Brudzewo.
59