DOI article:
Mikoś, Michael J.: Nagrobek Karola Skibińskiego na Cmentarzu Łyczakowskim we Lwowie projektu Wincentego Witolda Rawskiego
DOI Page / Citation link:https://doi.org/10.11588/diglit.73729#0219
Nagrobek Karola Skibińskiego na Cmentarzu Łyczakowskim we Lwowie...
217
SUMMARY
Karol Skibiński's gravestone on Lychakiv Cemetery in Lviv
by Wincenty Witold Rawski
Wincenty Witold Rawski (1893-1962) has been noticed by scholars researching
prewar Lviv architecture, sculpture and design, but his works have never gone under
detailed analysis. The soaring Karol Skibińskis (1849-1922) gravestone on Lychakiv
Cemetery stands out with its art deco styled reliefs against various tombstones erect-
ed in different styles of over two centuries. With its unique form of slender railway
span over which runs a locomotive, it became an object of a in-depth research. The
present paper focuses on detailed description and formal analysis of the gravestone,
which led to probably most accurate iconographic recognition of relief carved hu-
man figures, as well as to determining the generał meaning of the gravestone as The
Apotheosis of Technology and a Man. Moreover, the article sets the gravestone within
both sepulchral and sacral context of Lviv’s interwar sculpture. The biograms of an
author and a commemorated person are also described. This paper is expected to
prompt a series of deepened research not only over Rawski himself, but also other,
unknown Lviv artists of the pre-war era.
217
SUMMARY
Karol Skibiński's gravestone on Lychakiv Cemetery in Lviv
by Wincenty Witold Rawski
Wincenty Witold Rawski (1893-1962) has been noticed by scholars researching
prewar Lviv architecture, sculpture and design, but his works have never gone under
detailed analysis. The soaring Karol Skibińskis (1849-1922) gravestone on Lychakiv
Cemetery stands out with its art deco styled reliefs against various tombstones erect-
ed in different styles of over two centuries. With its unique form of slender railway
span over which runs a locomotive, it became an object of a in-depth research. The
present paper focuses on detailed description and formal analysis of the gravestone,
which led to probably most accurate iconographic recognition of relief carved hu-
man figures, as well as to determining the generał meaning of the gravestone as The
Apotheosis of Technology and a Man. Moreover, the article sets the gravestone within
both sepulchral and sacral context of Lviv’s interwar sculpture. The biograms of an
author and a commemorated person are also described. This paper is expected to
prompt a series of deepened research not only over Rawski himself, but also other,
unknown Lviv artists of the pre-war era.