DOI Artikel:
Strzalkowski, Zbigniew: Problemy malarstwa tablicowego szkoły krakowsko-sądeckiej w Latach 1440-1460
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.27673#0079
MALARSTWO TABLICOWE SZKOŁY KRAKOWSKO-SĄDECKIEJ
53
THE PROBLEMS OF PANEL PAINTING
OF THE SCHOOL OF CRACOW AND SĄDECCZYZNA IN 1440—<1460
Summary
Gothic panel pamting has been of interest to the Polish historians of art for
a long time. Already Łuszczkiewicz tried to indicate -an independent position of the
School of Sądecczyzna pointing out a number of featu-res which made it different
from the School of Cracow. The late works by Walicki, Dobrowolski, Dutkiewicz
and the oithers contri-buted to a further determination of common stylistic ąualities
nf the painting which developed in the regio-n of Suboarpathian.
The problem whether a -given piece of -pai-nting belongs to the School of Sądec-
-czyzna or to the Cracow School has not solved in a definite way. T. Dobrowo-lski
proposes two term-s: a) the painting o-f the Sdho-oil of C-ra-cow and Są-decozyzna, b) the
•painting of the Cracow Schoo-1 -about 1450, Con-sa-dering the present s-tate of rese-
arches it seems that the fi-rst term i-s more justified because it s-hows a dependence
of the Schoo-1 of Sądecczyzna on the ol-d capital of Poland.
The rulin-g roil-e of Cr-acow was -due not only to the fact that, as a cąpital, it
was a centre of the politi-cal an-d economi-cal life but also that Gracow had a ri-ch
cul-tural background whi-ch ena-bled the painterria to take a-dvantage o-f the schoilarly
production of the university. Thi-s can be ob-served i-n the ori-gin of the development
of the pain-ting in 1420—1430 whi-ch through -the il-luminations of moinasti-c -sc-riptors
from Cracow and the wall-painti-ng gave a foun-dation -to panel pai-nting. The figure
of a s-aint in a frontal positi-on, a -type of composition, po-or use of -colours an-d the
first indications o-f the „hard” s-ty-le — these are -co-mmon features of easel painti-ng
in the reg-ion from Uppe-r Silesia to Spi-siz.
As far as a -chro-nology is concerned we are interested in the two stages of the
develqpment of -painti-ng i-n Cracow and the Subcarpathian region: 1440—1450 and
about 1460.
It is possib-le to d-i-stinguish so-me o-f g-ro-ups of painting a-c-coriding to the-i-r icono-
graphic subjects: a) the pi-ctures wiith the figures „in th-rono”, b) the p-ict-ure-s o-f
Lamentation, c) t-he picture-s of Ass-unta, -d) t-he pi-ctures with -the figures of 'ki-ngs,
e) the pi-ctures of the Coronation o-f the Virgin, f) the pictures of Miseri-cordia Do-
mi-ni, g) -o;n the wiogs of the figures of the Blessed Virgin Mary of the Seven
Dolou-rs -and of Chris-t Piteous, h) on the wings in the scene of Annun-ciation. They
can be ch-aracterized by passing fro-m the d-dealisti-c perception of a-n o-bject to -the
realistic one, from the soft -style to the hard s-tyle. The influen-ce -of Netherland and
Cze-c-h Scho-ol -can be easily seen, particu-la-rly in the firs-t period of the Cracow
School in 1420—1430, and in so-m-e ca-s-es the use of the graphi-c -designs as well.
The Hung-aria-n Scholars have olai-med that the painting o-f the 15 th century is
o-riginally connected with the Hungarian art, an-d they seem -to -see the sour-ce of
the S-chooil o-f Sądecczyzna in the -wonks of the Master of the Legen-d of Saint
Hedwig and also of the M-aster from Maciejowice. A isimilar p-oint o-f view is held
by the German scho-lars who in fact have no-t co-ntributed anything new to this
pro-blem. It is i-mpoissiible to so-lve uiti-mately the p-roblem of -art in Spisz and to de-
termine its dependence on the painting of Cracow. In the light of comparative stu-
dies we are in-olined to adop-t T. Dobrowolski’s i-dea -that most of the preserve-d
paintings i-n the Subcarpathian -regio-n belong by their style to the S-choo-l of
Cracow.
53
THE PROBLEMS OF PANEL PAINTING
OF THE SCHOOL OF CRACOW AND SĄDECCZYZNA IN 1440—<1460
Summary
Gothic panel pamting has been of interest to the Polish historians of art for
a long time. Already Łuszczkiewicz tried to indicate -an independent position of the
School of Sądecczyzna pointing out a number of featu-res which made it different
from the School of Cracow. The late works by Walicki, Dobrowolski, Dutkiewicz
and the oithers contri-buted to a further determination of common stylistic ąualities
nf the painting which developed in the regio-n of Suboarpathian.
The problem whether a -given piece of -pai-nting belongs to the School of Sądec-
-czyzna or to the Cracow School has not solved in a definite way. T. Dobrowo-lski
proposes two term-s: a) the painting o-f the Sdho-oil of C-ra-cow and Są-decozyzna, b) the
•painting of the Cracow Schoo-1 -about 1450, Con-sa-dering the present s-tate of rese-
arches it seems that the fi-rst term i-s more justified because it s-hows a dependence
of the Schoo-1 of Sądecczyzna on the ol-d capital of Poland.
The rulin-g roil-e of Cr-acow was -due not only to the fact that, as a cąpital, it
was a centre of the politi-cal an-d economi-cal life but also that Gracow had a ri-ch
cul-tural background whi-ch ena-bled the painterria to take a-dvantage o-f the schoilarly
production of the university. Thi-s can be ob-served i-n the ori-gin of the development
of the pain-ting in 1420—1430 whi-ch through -the il-luminations of moinasti-c -sc-riptors
from Cracow and the wall-painti-ng gave a foun-dation -to panel pai-nting. The figure
of a s-aint in a frontal positi-on, a -type of composition, po-or use of -colours an-d the
first indications o-f the „hard” s-ty-le — these are -co-mmon features of easel painti-ng
in the reg-ion from Uppe-r Silesia to Spi-siz.
As far as a -chro-nology is concerned we are interested in the two stages of the
develqpment of -painti-ng i-n Cracow and the Subcarpathian region: 1440—1450 and
about 1460.
It is possib-le to d-i-stinguish so-me o-f g-ro-ups of painting a-c-coriding to the-i-r icono-
graphic subjects: a) the pi-ctures wiith the figures „in th-rono”, b) the p-ict-ure-s o-f
Lamentation, c) t-he picture-s of Ass-unta, -d) t-he pi-ctures with -the figures of 'ki-ngs,
e) the pi-ctures of the Coronation o-f the Virgin, f) the pictures of Miseri-cordia Do-
mi-ni, g) -o;n the wiogs of the figures of the Blessed Virgin Mary of the Seven
Dolou-rs -and of Chris-t Piteous, h) on the wings in the scene of Annun-ciation. They
can be ch-aracterized by passing fro-m the d-dealisti-c perception of a-n o-bject to -the
realistic one, from the soft -style to the hard s-tyle. The influen-ce -of Netherland and
Cze-c-h Scho-ol -can be easily seen, particu-la-rly in the firs-t period of the Cracow
School in 1420—1430, and in so-m-e ca-s-es the use of the graphi-c -designs as well.
The Hung-aria-n Scholars have olai-med that the painting o-f the 15 th century is
o-riginally connected with the Hungarian art, an-d they seem -to -see the sour-ce of
the S-chooil o-f Sądecczyzna in the -wonks of the Master of the Legen-d of Saint
Hedwig and also of the M-aster from Maciejowice. A isimilar p-oint o-f view is held
by the German scho-lars who in fact have no-t co-ntributed anything new to this
pro-blem. It is i-mpoissiible to so-lve uiti-mately the p-roblem of -art in Spisz and to de-
termine its dependence on the painting of Cracow. In the light of comparative stu-
dies we are in-olined to adop-t T. Dobrowolski’s i-dea -that most of the preserve-d
paintings i-n the Subcarpathian -regio-n belong by their style to the S-choo-l of
Cracow.