DOI issue:
Artykuły i prace konserwatorskie / Articles and conservation works
DOI article:Ludera, Magdalena: Obraz Św. Marcin na tle bitwy pod Chocimiem w kościele w Bejscach: Styl, ikonografia oraz problem Iwowskiej fundacji
DOI Page / Citation link:https://doi.org/10.11588/diglit.47326#0027
Obraz Św. Marcin na tle bitwy pod Chocimiem w kościele w Bejscach
25
Summary
The painting of St. Martin against the battle of Chocim in the church
in Bejsce. Style, iconography and the problem of origin from Lviv
The article constitutes a smali monograph of a painting of St. Martin against the bat-
tle of Chocim in the parish church in Bejsce. The problems of form and content of
the picture, as well as its possible origin from Lviv were considered. The anony-
mous painters practice was based on skilful compilation and on formal and icon-
ographic adaptation of motifs taken from several patterns, among which the artis-
tic Solutions of Claude Callots circle as well as Flemish engravings of Romeyn de
Hooghe extend to the fore. We can also consider whether our painter could know
the yet still unidentified engravings based on several famous paintings of Kareł
Skręta, Antoon van Dyck or Peter Paul Rubens. Naturally, direct inspirations are out
of the ąuestion. An interesting motif of compositional echo, created by the monu-
mental and unprecedentedly dynamie posturę of Martin in the foreground and
the eąuestrian portrait of hetman Jan Sobieski in the background, has madę the fu-
turę king a holy leader. Only further archive query may bring confirmation of
Edward Rastawieckis suggestion about the Lviv origin of the painting. The known
sources do not record any painting of St. Martin in the Lviv convents of the Discalced
Carmelites, of both małe and female branches, whereas the one mentioned in the main
altar of the Calced Carmelites church of St. Martin is not the same as the Bejsce one
and probably was created later. Endorsing the conviction, well established in the lit-
eraturę, about the foundation of the painting in Bejsce by Jan Sobieski for the female
branch of the Discalced Carmelites church of Virgin Mary of Loreto may mean that
the picture had been executed in Wilanów, then transported to Jaworów, from where,
in 1691, it got to Lviv. Arguing in favour of the Discalced Carmelites church of Arch-
angel Michael does not preclude royal foundation of the painting, as it is known that
Jan III Sobieskis artists worked at the reconstruction of the said convent in the finał
ąuarter of the 17th century. In turn, accepting the hypothesis that our painting was
destined for the Calced Carmelites means that initially, around 1700, the picture had
been located in a wooden church and only later was transferred to a stone one.
Słowa kluczowe: Bejsce, św. Marcin, obraz, karmelici, Lwów, Claude Callot, Jan III Sobieski,
Romeyn de Hooghe
Key words: Bejsce, St. Martin, painting, Carmelites, Lviv, Claude Callot, Jan III Sobieski,
Romeyn de Hooghe
25
Summary
The painting of St. Martin against the battle of Chocim in the church
in Bejsce. Style, iconography and the problem of origin from Lviv
The article constitutes a smali monograph of a painting of St. Martin against the bat-
tle of Chocim in the parish church in Bejsce. The problems of form and content of
the picture, as well as its possible origin from Lviv were considered. The anony-
mous painters practice was based on skilful compilation and on formal and icon-
ographic adaptation of motifs taken from several patterns, among which the artis-
tic Solutions of Claude Callots circle as well as Flemish engravings of Romeyn de
Hooghe extend to the fore. We can also consider whether our painter could know
the yet still unidentified engravings based on several famous paintings of Kareł
Skręta, Antoon van Dyck or Peter Paul Rubens. Naturally, direct inspirations are out
of the ąuestion. An interesting motif of compositional echo, created by the monu-
mental and unprecedentedly dynamie posturę of Martin in the foreground and
the eąuestrian portrait of hetman Jan Sobieski in the background, has madę the fu-
turę king a holy leader. Only further archive query may bring confirmation of
Edward Rastawieckis suggestion about the Lviv origin of the painting. The known
sources do not record any painting of St. Martin in the Lviv convents of the Discalced
Carmelites, of both małe and female branches, whereas the one mentioned in the main
altar of the Calced Carmelites church of St. Martin is not the same as the Bejsce one
and probably was created later. Endorsing the conviction, well established in the lit-
eraturę, about the foundation of the painting in Bejsce by Jan Sobieski for the female
branch of the Discalced Carmelites church of Virgin Mary of Loreto may mean that
the picture had been executed in Wilanów, then transported to Jaworów, from where,
in 1691, it got to Lviv. Arguing in favour of the Discalced Carmelites church of Arch-
angel Michael does not preclude royal foundation of the painting, as it is known that
Jan III Sobieskis artists worked at the reconstruction of the said convent in the finał
ąuarter of the 17th century. In turn, accepting the hypothesis that our painting was
destined for the Calced Carmelites means that initially, around 1700, the picture had
been located in a wooden church and only later was transferred to a stone one.
Słowa kluczowe: Bejsce, św. Marcin, obraz, karmelici, Lwów, Claude Callot, Jan III Sobieski,
Romeyn de Hooghe
Key words: Bejsce, St. Martin, painting, Carmelites, Lviv, Claude Callot, Jan III Sobieski,
Romeyn de Hooghe