DOI Artikel:
Miscellanea
DOI Artikel:Pierzchała, Marek: Późnobarokowy wystrój malarski kaplicy dworskiej w Sarnach i jego twórca Jan Franciszek Hoffmann
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.13736#0210
136
Marek Pierzchała
THE LATE BAROQUE INTERIOR PAINTING DECORATIONS OF THE MANOR CHAPEL AT SARNY
AND THEIR CREATOR JOHANN FRANZ HOFFMANN
S u m m a r y
This work deals with the baroąue polychromy
ornamenting the interior of the central manor chapel
at Sarny, near Nowa Ruda, added to the 16th century
mansion in the 1720's. The founder of the chapel and
paintings was Count Johann Franz Anton Gotzen
who previously patronized the building of the pil-
grim church at Wambierzyce. The chapel paintings
were made in 1738 By Johann Franz Hoffmann —
according to the preserved signature.
The interior decorations of the chapel consist of:
1 — an illusionistic altar retable, 2 — the ceiling
painting, 3 — decorations of the jambs and architra-
ves of four windows. The chapel is devoted to the
cult of St. John Nepomuk, whose apotheosis is pre-
sented on the ceiling while selected scenes from his
life are depicted in eight medallions on window-fra-
mes. The illusionistic altar indicates a complex sub-
ject program. The introduction of the motif of dra-
wing aside curtains and the lifting by puttł the picture
showing the Sainfs corpse link traditions of the
antiąue imperial apotheosis and the deification of
the dead person with the Christian notion of the
idea of death (the lifting of the curtains as a symbol
of bodily death and passing to eternal life). It also
refers to the generał symbolic of the altar as a grave
and a place symbolizing. the martyr's triumph over
death. The second subject element of these decora-
tions is the glorification of the founder's family. The
axis of this part of the program is the gallery oppo-
site the altar and the Gotzen coat-of-arms placed
beneath, but — in a veiled way — this motif decides
the ideological expression of the chapel as a wholc.
This is indicated not only by the invocation of the
chapel and the selection of saints portrayed in the
chapel but also by the emphasis on the position of
the family as mediating in God's care of the faithful.
An analysis of the artistic aspect of the decora-
tions has shown a great skill of the painter in using
various artistic means to direct the process of su-
bject reception, in accentuating selected program
elements and achieving illusion. This indicates the
artistic maturity of the painter well managing avai-
lable skills and being able to use them officially.
The work also includes an outline of the history
of the artist — Johann Franz Hoffmann, b. 1699
(1701 ?) in Kłodzko, d. 1766 in Krzeszów. In 1730 he
was an apprentice of the Moravian fresco artist
Handke with whom he worked in Moravia (Unićov,
Hradec Kralove). This was where he realized his
first independent works (Unićov, Klaster Hradiś).
Since 1731 he was permanently linked with Krze-
szów where he was an inn-keeper from 1731 to 1737.
He was mentioned in 1733 as an assistant of Neun-
hertz at the monastery church at Krzeszów — he
was probably the author of the ąuadrature graphs
of these paintings. In the second half of 1734 and
the beginning of 1735 he realized the paintings of
the transept in the Church of Mercy in Jelenia Góra,
linking ąuadrature paintings which he learned from
Handke, with the semi-panoramic approach to figu-
ral scenes adopted from Neunhertz. In 1735 he pro-
duced the (no longer existing) paintings devoted to
the life of St. Catherine in the parochial church at
Ołdrzychowice Kłodzkie. Hoffmann's easel painting is
represented by three pictures from Cieplice, one
from Stare Bogaczowice and one from Krzeszów,
indicating that the painter was commissioned by the
Krzeszów monastery. The polychromy in the mano-
rial chapel at Sarny and vault paintings of two
chapels in the church at Scinawka Średnia (repain-
ted) represent the period during which the painter
executed works commissioned by the Gotzen family
and, at the same time, freed himself in the artistic
field from influences of his former masters. The
group of known works by Hoffmann complcte two
pictures painted for Wambierzyce (one still existing)
and a much later work — a self-portrait from 1759,
presenting the artist as a portrait painter.
The author was able to cxclude from the artisfs
achievements several works wrongly attributed to
him: the picture from the main altar of the paro-
chial church in Jelenia Góra, a group of works from
the parochial church at Duszniki and the altar pictu-
re from Unićov.
It was assumed at the same time, that Hoffmann
created the illusionistic curtain on the eastern wali
of the chancel in the Church of Mercy in Jelenia
Góra, which could have been an element of the ori-
ginal uniform, illusionistic conception of the interior
decoration of the Church realized by paintings on the
extreme transept spans.
The interior decorations of the chapel at Sarny
are, as regards their artistic aspect, Hoffmann's best
preserved works. They represent a non-conventional
subject program and are a good example of comple-
tely preserved painting decorations of sacral interiors
of the late Baroąue in Silesia.
translated by J. Rudzki
DIE SPATBAROCKE MALEREIAUSSTATTUNG IN DER SCHLOBKAPELLE IN SARNY UND IHR
SCHOPFER JOHANN FRANZ HOFFMANN
Zusammenfassung
Gegensland der Arbeit ist diu barocke Polychro-
mie, die den Innenraum der zentralen Kapelle in
Sarny bei Nowa Ruda (Scharfeneck bei Neurode)
schmiickl. Die Kapelle wurde in den zwanziger Jahrcn
des 18. Jh. an den im 16. Jh. errichteten Hof ange-
baut. Ihr Stiller war Graf Johann Franz Anton Go-
Marek Pierzchała
THE LATE BAROQUE INTERIOR PAINTING DECORATIONS OF THE MANOR CHAPEL AT SARNY
AND THEIR CREATOR JOHANN FRANZ HOFFMANN
S u m m a r y
This work deals with the baroąue polychromy
ornamenting the interior of the central manor chapel
at Sarny, near Nowa Ruda, added to the 16th century
mansion in the 1720's. The founder of the chapel and
paintings was Count Johann Franz Anton Gotzen
who previously patronized the building of the pil-
grim church at Wambierzyce. The chapel paintings
were made in 1738 By Johann Franz Hoffmann —
according to the preserved signature.
The interior decorations of the chapel consist of:
1 — an illusionistic altar retable, 2 — the ceiling
painting, 3 — decorations of the jambs and architra-
ves of four windows. The chapel is devoted to the
cult of St. John Nepomuk, whose apotheosis is pre-
sented on the ceiling while selected scenes from his
life are depicted in eight medallions on window-fra-
mes. The illusionistic altar indicates a complex sub-
ject program. The introduction of the motif of dra-
wing aside curtains and the lifting by puttł the picture
showing the Sainfs corpse link traditions of the
antiąue imperial apotheosis and the deification of
the dead person with the Christian notion of the
idea of death (the lifting of the curtains as a symbol
of bodily death and passing to eternal life). It also
refers to the generał symbolic of the altar as a grave
and a place symbolizing. the martyr's triumph over
death. The second subject element of these decora-
tions is the glorification of the founder's family. The
axis of this part of the program is the gallery oppo-
site the altar and the Gotzen coat-of-arms placed
beneath, but — in a veiled way — this motif decides
the ideological expression of the chapel as a wholc.
This is indicated not only by the invocation of the
chapel and the selection of saints portrayed in the
chapel but also by the emphasis on the position of
the family as mediating in God's care of the faithful.
An analysis of the artistic aspect of the decora-
tions has shown a great skill of the painter in using
various artistic means to direct the process of su-
bject reception, in accentuating selected program
elements and achieving illusion. This indicates the
artistic maturity of the painter well managing avai-
lable skills and being able to use them officially.
The work also includes an outline of the history
of the artist — Johann Franz Hoffmann, b. 1699
(1701 ?) in Kłodzko, d. 1766 in Krzeszów. In 1730 he
was an apprentice of the Moravian fresco artist
Handke with whom he worked in Moravia (Unićov,
Hradec Kralove). This was where he realized his
first independent works (Unićov, Klaster Hradiś).
Since 1731 he was permanently linked with Krze-
szów where he was an inn-keeper from 1731 to 1737.
He was mentioned in 1733 as an assistant of Neun-
hertz at the monastery church at Krzeszów — he
was probably the author of the ąuadrature graphs
of these paintings. In the second half of 1734 and
the beginning of 1735 he realized the paintings of
the transept in the Church of Mercy in Jelenia Góra,
linking ąuadrature paintings which he learned from
Handke, with the semi-panoramic approach to figu-
ral scenes adopted from Neunhertz. In 1735 he pro-
duced the (no longer existing) paintings devoted to
the life of St. Catherine in the parochial church at
Ołdrzychowice Kłodzkie. Hoffmann's easel painting is
represented by three pictures from Cieplice, one
from Stare Bogaczowice and one from Krzeszów,
indicating that the painter was commissioned by the
Krzeszów monastery. The polychromy in the mano-
rial chapel at Sarny and vault paintings of two
chapels in the church at Scinawka Średnia (repain-
ted) represent the period during which the painter
executed works commissioned by the Gotzen family
and, at the same time, freed himself in the artistic
field from influences of his former masters. The
group of known works by Hoffmann complcte two
pictures painted for Wambierzyce (one still existing)
and a much later work — a self-portrait from 1759,
presenting the artist as a portrait painter.
The author was able to cxclude from the artisfs
achievements several works wrongly attributed to
him: the picture from the main altar of the paro-
chial church in Jelenia Góra, a group of works from
the parochial church at Duszniki and the altar pictu-
re from Unićov.
It was assumed at the same time, that Hoffmann
created the illusionistic curtain on the eastern wali
of the chancel in the Church of Mercy in Jelenia
Góra, which could have been an element of the ori-
ginal uniform, illusionistic conception of the interior
decoration of the Church realized by paintings on the
extreme transept spans.
The interior decorations of the chapel at Sarny
are, as regards their artistic aspect, Hoffmann's best
preserved works. They represent a non-conventional
subject program and are a good example of comple-
tely preserved painting decorations of sacral interiors
of the late Baroąue in Silesia.
translated by J. Rudzki
DIE SPATBAROCKE MALEREIAUSSTATTUNG IN DER SCHLOBKAPELLE IN SARNY UND IHR
SCHOPFER JOHANN FRANZ HOFFMANN
Zusammenfassung
Gegensland der Arbeit ist diu barocke Polychro-
mie, die den Innenraum der zentralen Kapelle in
Sarny bei Nowa Ruda (Scharfeneck bei Neurode)
schmiickl. Die Kapelle wurde in den zwanziger Jahrcn
des 18. Jh. an den im 16. Jh. errichteten Hof ange-
baut. Ihr Stiller war Graf Johann Franz Anton Go-