DOI Artikel:
Zinkiewicz-Ryndziewicz, Aniela: Gotycko-renesansowy obraz Nawrócenie Szawła z Jurkowa k. Czchowa w Tarnowskim Muzeum Diecezjalnym
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.36972#0076
70
ANIELA ZINKIEWICZ
THE CONVERSION OF SAUL
A GOTHIC-RENAISSANCE PAINTING FROM JURKÓW NEAR CZCHÓW
NOW AT THE DIOCESAN MUSEUM IN TARNÓW
Summary
Though the Conversion of Saul from Jurków near Czchów has been included in the collection of the
Diocesan Museum in Tarnów since 1917, the picture has not been mentioned in either published studies
or records. It might have constituted a predella, an antepedium or an independent painting. Three lime
panels pasted together in a horizontal fashion make up the ground. Most probably the original
underpainting consisted of four panels and the bottom one either fell off or was cut off. The present size
of the painting is 158 cm x 62 cm. The picture painted in tempera on a chalk ground depicts the scene of
the Conversion of Saul at the Walls of Damascus. The foreground shows a group of riders with Christ
appearing over them. In the background the city buildings are visible on the left, while on the right we
can see a hill covered with dense woods with a castle on it. Rocks fill the space between the buildings and
the castle. A golden background consisting of stylized thistle leaves fills small fragments of the picture
between the roofs, clouds and rocks. The colour is broken into a large number of small, lively and intense
blobs, often juxtaposed. The background clearly sets off the fragments which show oriental clothing.
The substance of the Jurków picture is taken from the Lives of the Apostles where three different
versions of the event are described. The painter compiled elements mentioned in all the three versions.
The comparison of the painting from Jurków to other works of Polish guild art at the turn of the
Gothic and the Renaissance permitted to establish that it had come from the workshop of the Master of
Triptych from Wójtowa who tended to lag behind the contemporary art. He produced a group of
paintings connected with the region of Biecz. These are the triptychs from Wójtowa, Libusza and
Korzenna, the painting of the Last Supper from Gromnik, polychromes of the churches at Krużlowa and
Libusza. When compared to these the Jurków painting seems the most innovatory, including the greatest
number of Renaissance elements. Thus it seems likely that it was the latest of all the works produced by
the shop. The previous works are datable 1520-1539. Hence the painting could be completed after that
time or it might be produced by the Master’s pupil more sensitive to the tendencies of the incipient
Renaissance.
ANIELA ZINKIEWICZ
THE CONVERSION OF SAUL
A GOTHIC-RENAISSANCE PAINTING FROM JURKÓW NEAR CZCHÓW
NOW AT THE DIOCESAN MUSEUM IN TARNÓW
Summary
Though the Conversion of Saul from Jurków near Czchów has been included in the collection of the
Diocesan Museum in Tarnów since 1917, the picture has not been mentioned in either published studies
or records. It might have constituted a predella, an antepedium or an independent painting. Three lime
panels pasted together in a horizontal fashion make up the ground. Most probably the original
underpainting consisted of four panels and the bottom one either fell off or was cut off. The present size
of the painting is 158 cm x 62 cm. The picture painted in tempera on a chalk ground depicts the scene of
the Conversion of Saul at the Walls of Damascus. The foreground shows a group of riders with Christ
appearing over them. In the background the city buildings are visible on the left, while on the right we
can see a hill covered with dense woods with a castle on it. Rocks fill the space between the buildings and
the castle. A golden background consisting of stylized thistle leaves fills small fragments of the picture
between the roofs, clouds and rocks. The colour is broken into a large number of small, lively and intense
blobs, often juxtaposed. The background clearly sets off the fragments which show oriental clothing.
The substance of the Jurków picture is taken from the Lives of the Apostles where three different
versions of the event are described. The painter compiled elements mentioned in all the three versions.
The comparison of the painting from Jurków to other works of Polish guild art at the turn of the
Gothic and the Renaissance permitted to establish that it had come from the workshop of the Master of
Triptych from Wójtowa who tended to lag behind the contemporary art. He produced a group of
paintings connected with the region of Biecz. These are the triptychs from Wójtowa, Libusza and
Korzenna, the painting of the Last Supper from Gromnik, polychromes of the churches at Krużlowa and
Libusza. When compared to these the Jurków painting seems the most innovatory, including the greatest
number of Renaissance elements. Thus it seems likely that it was the latest of all the works produced by
the shop. The previous works are datable 1520-1539. Hence the painting could be completed after that
time or it might be produced by the Master’s pupil more sensitive to the tendencies of the incipient
Renaissance.