DOI Artikel:
Getka-Kenig, Mikołaj: Pałac Andrzeja Deskura w Sancygniowie a problem upamiętniania wielkich rodaków na elewacjach rezydencji ziemiańskich w Królestwie Kongresowym
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.51757#0073
PAŁAC ANDRZEJA DESKURA W SANCYGNIOWIE...
71
ANDRZEJ DESKUR’S PALACE IN SANCYGNIÓW,
AND THE PROBLEM OF HONOURING GREAT COUNTRYMEN
ON THE FRONTAGES OF LANDOWNERS’ RESIDENCES
IN CONGRESS KINGDOM
Summary
This article focuses on the infrequent but intriguing phenomenon in the 19th century history of residential architecture in the
Congress Kingdom, which decorated the facades of the landed gentry’s residences with sculpted portraits of outstanding Poles. The
main subject of analysis is its most spectacular example - the Sancygniów Palace near Pińczów, built for Andrzej Deskur in 1882 from
the designs by the Warsaw architect Adam Oczkowski. The author argues with Magdalena Swaryczewska’s older thesis recognizing
the historical decor of the palace as the “manifestation of independence and the relentless spirit of fighting patriots” in the “difficult
post-uprising times”. Getka-Kenig demonstrates that it is a simplified interpretation, which does not explain the possible motives and
goals, for which Deskur - a wealthy, but devoid of any aristocratic ambitions veteran of the Pińczów County uprising - decided at
that time on such an unusual form of manifesting his patriotism. The author shows that Deskur’s ambitious undertaking took place in
a very specific context, both local and national (within the Congress Kingdom). However, in order to properly determine the place of
the Sancygniów Palace and its specific decoration in the history of the 19th-century residential architecture, a diachronic analysis of
this phenomenon is required, in this case a comparison with earlier and similar buildings - Ludwik Pae’s palace in Dowspuda and the
Eliza Krasihska’s palace in Ursynów. As a result, the historical decoration of the palace in Sancygniów appears to be a special type
of manifestation of the landed gentry’s experience of modernity, evolving over the period of the partitions of Poland. Both the case
of Sancygniów and the earlier similar projects, coincided in time with the moments of political crisis of the landowning elite - in the
first two cases the nobility, in the third case the rich landowners distancing themselves from it - when confronted with the gradual
weakening of their once superior position in the struggle for independence. The phenomenon of the palace in Sancygniów can thus be
considered on the two complementary levels, which helps us to appreciate the exceptional value of this monument of the nineteenth
century residential architecture. It is not only a strictly artistic value (above all in terms of the originality of the project), but also and
to an equal extent, a historical one.
fransi. Katarzyna Krzyżagórska-Pisarek
71
ANDRZEJ DESKUR’S PALACE IN SANCYGNIÓW,
AND THE PROBLEM OF HONOURING GREAT COUNTRYMEN
ON THE FRONTAGES OF LANDOWNERS’ RESIDENCES
IN CONGRESS KINGDOM
Summary
This article focuses on the infrequent but intriguing phenomenon in the 19th century history of residential architecture in the
Congress Kingdom, which decorated the facades of the landed gentry’s residences with sculpted portraits of outstanding Poles. The
main subject of analysis is its most spectacular example - the Sancygniów Palace near Pińczów, built for Andrzej Deskur in 1882 from
the designs by the Warsaw architect Adam Oczkowski. The author argues with Magdalena Swaryczewska’s older thesis recognizing
the historical decor of the palace as the “manifestation of independence and the relentless spirit of fighting patriots” in the “difficult
post-uprising times”. Getka-Kenig demonstrates that it is a simplified interpretation, which does not explain the possible motives and
goals, for which Deskur - a wealthy, but devoid of any aristocratic ambitions veteran of the Pińczów County uprising - decided at
that time on such an unusual form of manifesting his patriotism. The author shows that Deskur’s ambitious undertaking took place in
a very specific context, both local and national (within the Congress Kingdom). However, in order to properly determine the place of
the Sancygniów Palace and its specific decoration in the history of the 19th-century residential architecture, a diachronic analysis of
this phenomenon is required, in this case a comparison with earlier and similar buildings - Ludwik Pae’s palace in Dowspuda and the
Eliza Krasihska’s palace in Ursynów. As a result, the historical decoration of the palace in Sancygniów appears to be a special type
of manifestation of the landed gentry’s experience of modernity, evolving over the period of the partitions of Poland. Both the case
of Sancygniów and the earlier similar projects, coincided in time with the moments of political crisis of the landowning elite - in the
first two cases the nobility, in the third case the rich landowners distancing themselves from it - when confronted with the gradual
weakening of their once superior position in the struggle for independence. The phenomenon of the palace in Sancygniów can thus be
considered on the two complementary levels, which helps us to appreciate the exceptional value of this monument of the nineteenth
century residential architecture. It is not only a strictly artistic value (above all in terms of the originality of the project), but also and
to an equal extent, a historical one.
fransi. Katarzyna Krzyżagórska-Pisarek