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Folia Historić Artium FOLIA HISTORIÆ ARTIUM 16 Seria Nowa POLSKA AKADEMIA UMIEJĘTNOŚCI KOMISJA HISTORII SZTUKI KRAKÓW 2018 Seria Pierwsza (tomy I–XXX) wydawana była przez Polską Akademię Nauk – Oddział w Krakowie Komitet Redakcyjny David Crowley (Royal College of Art, London, Wielka Brytania) Thomas DaCosta Kaufmann (Princeton University, USA) Marcin Fabiański (Uniwersytet Jagielloński, Kraków) Adam Małkiewicz (PAU, Kraków) Michaela Marek (Humboldt Universität Berlin, Niemcy) Sergiusz Michalski (Eberhard Karls Universität Tübingen, Niemcy) Jan Ostrowski (Uniwersytet Jagielloński, Kraków) Redakcja Wojciech Bałus (redaktor naczelny) Dobrosława Horzela (redaktor prowadzący) Wojciech Walanus (sekretarz redakcji) Recenzenci tomu: Małgorzata Maria Grąbczewska, Jarosław Jarzewicz, Piotr Juszkiewicz, Tadeusz Majda, Adam Małkiewicz, Anna Markowska, Zbigniew Michalczyk, Małgorzata Omilanowska, Magdalena Piwocka, Andrzej Rottermund, Aleksandra Sulikowska-Bełczowska, Marcin Szyma, Tomasz Torbus, Marek Walczak, Wojciech Włodarczyk Adres redakcji: Instytut Historii Sztuki UJ ul. Grodzka 53, 31-001 Kraków e-mail: [email protected] Opracowanie redakcyjne Martyna Tondera-Łepkowska Tłumaczenia na język angielski Joanna Wolańska Odpowiedzialność za przestrzeganie praw autorskich do materiału ilustracyjnego ponoszą autorzy tekstów Publikacja sfinansowana przez Fundację Lanckorońskich ISSN 0071-6723 Publikacja jest udostępniona na licencji Creative Commons (CC BY-NC-ND 4.0 PL). Projekt: iMEDIUS agencja reklamowa sp. z o.o. ul. Mogilska 69, 31-545 Kraków Skład: Agencja Reklamowa NOVUM ul. Krowoderska 66/8, 31-158 Kraków Dystrybucja Polska Akademia Umiejętności ul. Sławkowska 17, 31-016 Kraków e-mail: [email protected] www.pau.krakow.pl SPIS TREŚCI CONTENTS artykuły Justyna Balisz-Schmelz „Ewokują monstra rozkładu” . Ogólnopolska Wystawa Małgorzata Smorąg Różycka Młodej Plastyki „Przeciw wojnie – przeciw faszyzmowi” ‘She Begged the Child: Let me Embrace Thee, Lord!’ w świetle „niemiecko-niemieckiego” sporu A Byzantine Icon with the Virgin Eleousa o ekspresjonizm . 121 . in the Poor Clares Convent in Cracow . 5 ‘They Evoke Monsters of Decay’ . The Polish Nationwide Exhibition of Young Artists: ‘Against War – Against Beata Biedrońska-Słotowa Fascism’ in the Light of Germany’s Internal Controversy Tkaniny zdobione napisami arabskimi w szatach over Expressionism . 134 . liturgicznych pochodzących z kościoła Mariackiego w Gdańsku, przechowywanych w Muzeum Narodowym w Gdańsku. 19 . Textiles Decorated with Arabic Script Re-used Recenzje in the Vestments from St Mary’s Church in Gdańsk, Kept in the National Museum in Gdańsk. .34 . Piotr Krasny Obrazy dysydenckie . Nowa rozprawa Franka Mullera Jakub Adamski o wczesnej grafice protestanckiej w Strasburgu O genetycznej i chronologicznej zależności portali i jej znaczeniu dla wytworzenia specyficznej ikonografii augustiańskiego kościoła św . Katarzyny na Kazimierzu luterańskiej sztuki religijnej . 135 w Krakowie i fary św . Elżbiety w Koszycach . 35 On the Stylistic Sources and Dating of Portals Magdalena Łanuszka in the Austin Friars’ Church of Saint Catherine in Cracow’s Penny Howell Jolly, Picturing the ‘Pregnant’ Magdalene Kazimierz and their Relationship with Portals in Northern Art, 1430–1550: Addressing and Undressing in the Parish Church of Saint Elizabeth at Košice . .61 . the Sinner-Saint, Farnham and Burlington, Ashgate, 2014; ISBN: 978-1-4724-1495-3 . 143. Mikołaj Getka-Kenig Wystawy sztuk pięknych w Warszawie jako narzędzie Rafał Ochęduszko polityki artystycznej władz Królestwa Polskiego Uwagi na marginesie wystawy „Lwów, 24 czerwca 1937 . w latach 1815–1830 . 63 Miasto, architektura, modernizm” (Międzynarodowe Art Exhibitions in Warsaw as an Instrument of the Artistic Centrum Kultury, 1 .12 .2017–8 .04 .2018, kuratorzy: Policy Pursued by the Authorities of the Polish Kingdom Żanna Komar i Andrzej Szczerski) . 147. from 1815 to 1830 . 79 Anna Bednarek Historia jednego albumu . Pomniki Krakowa. Sztuka Nekrologi i starożytność = Monumenta antiquae artis Cracoviensia Karola Beyera i Melecjusza Dutkiewicza. .81 . Katja Bernhardt A History of an Album: Pomniki Krakowa. Sztuka Michaela Marek (1956–2018) . 153. i starożytność [The Historic Relics of Cracow. Art and Antiquity] = Monumenta antiquae artis Cracoviensia by Karol Beyer and Melecjusz Dutkiewicz .105 Kronika Komisji Historii Sztuki Polskiej Akademii Umiejętności za rok 2017 155 Wojciech Bałus „Nowy haft na słabej tkance przeszłości” . Karol Estreicher i Collegium Maius Uniwersytetu Jagiellońskiego . 107. ‘A New Embroidery on a Frail Tissue of the Past’ . Karol Estreicher and the Collegium Maius of the Jagiellonian University in Cracow . 118 Folia Historiae Artium Seria Nowa, t. 16: 2018 / PL ISSN 0071-6723 MAŁGORZATA SMORĄG RÓŻYCKA The Jagiellonian University, Art History Institute ‘SHE BEGGED THE CHILD: LET ME EMBRACE THEE, LORD!’ A BYZANTINE ICON WITH THE VIRGIN ELEOUSA IN THE POOR CLARES CONVENT IN CRACOW* Byzantine icons are extremely rare in Poland. A twelfth- The picture of the Virgin and Child, recorded in the century miniature mosaic icon with the Virgin Hagioso- Catalogue of Historic Monuments in Poland in 1971, had re- ritissa, that has been kept in the Poor Clares Convent in mained outside the scope of scholarly interest until 1999, Cracow since the times of the Blessed Salomea (d. 1268), when Wioletta Malska revealed its original Byzantine unquestionably has a pride of place among them.1 Since paint layer.3 In the catalogue of the Pax et Bonum exhibi- fairly recently we have known of yet another icon held in tion it was tentatively described as an Italian painting from the same convent, that was discovered during the prepa- the second half of the fourteenth century and illustrated rations for the exhibition Pax et Bonum . Skarby Klarysek with a photo taken before the conservation.4 At the same krakowskich [Pax et Bonum. The Treasures of the Cra- time, following my initial and rather cursory first-hand cow Poor Clares], presented in the Arsenal of the Czarto- examination of the original, I concluded that this painting ryski Museum in September and October 1999. During was an icon of the Virgin Eleousa executed around 1300 the conservation treatment of a Virgin and Child panel, in the Balkan milieu of Byzantine art.5 Fr Michał Jano- which until then was believed to be a Gothic picture re- cha, who was the first to publish a photograph of the icon painted in the seventeenth century, a singularly beauti- after conservation, attributed it to Italo-Byzantine school ful icon of the Virgin Eleousa [Figs 1–2], which displayed stylistic features of the Palaiologan-era painting, emerged ‘Sztuka w kręgu krakowskich franciszkanów i klarysek’ [Art in 2 beneath a few layers of repainting. the Milieu of the Cracow Franciscans and Poor Clares], organised by the Art History Institute of the Jagiellonian University and the * I wish to express my deepest gratitude to the Most Reverend Franciscan Friary in Cracow, held on 21–23 May 2015. The paper Mother Abbess Barbara Dragon for her gracious consent to put- awaits publication. ting the icon under scholarly examination, for making availab- 3 See W. Malska, Konserwacja obrazu sztalugowego na podobraziu le to me primary source and iconographic materials and for allo- drewnianym – ‘Matka Boska z Dzieciątkiem’ z klasztoru S .S . Klary - wing for their publication. I convey my heartfelt thanks to Sister sek w Krakowie, diploma work carried out under the supervision Elżbieta OSC for her constant help and unfaltering friendliness of Prof. M. Schuster-Gawłowska at the Faculty of Conservation during my work on the present paper. and Restoration of Works of Art, The Jan Matejko Academy of 1 A. Różycka-Bryzek, ‘Matka Boska Hagiosoritissa’, in Pax et Bo- Fine Arts in Cracow, 2000. All references to this work in the pre- num . Skarby Klarysek krakowskich, ed. by A. Włodarek, exh. cat., sent paper are based on a copy kept in the Poor Clares convent Cracow, 1999, pp. 42–46; eadem, ‘Mozaikowa ikona Matki Boskiej in Cracow. Hagiosoritissy w klasztorze ss. Klarysek w Krakowie’, in ‘Magistro 4 Pax et Bonum, p. 47 (as in note 1). et Amico amici discipulique’ . Lechowi Kalinowskiemu w osiem- 5 M. Smorąg Różycka, ‘Kościół wschodni i jego sztuka na zie- dziesięciolecie urodzin, ed. by J. Gadomski et al., Cracow, 2002, miach Rzeczypospolitej’, in Cerkiew – wielka tajemnica . Sztuka pp. 405–426. cerkiewna od XI wieku do 1917 ze zbiorów polskich, exh. cat. Mu- 2 The results of my initial identification of the style and iconog- zeum Początków Państwa Polskiego in Gniezno, Gniezno, 2001, raphy of this icon were presented at the scholarly conference p. 24, n. 35. Publikacja jest udostępniona na licencji Creative Commons (CC BY-NC-ND 3.0 PL). 6 1. The Virgin Eleousa, 1300 (?), Cracow, convent of the Poor Clares. Photo: J. Podlecki 7 and dated to the fourteenth to fifteenth centuries.6 A short to Ziarnko’.11 The problem of authorship was ultimately note on the icon was published by Mirosław Piotr Kruk solved, so it seems, when an inscription, written in an open who determined its iconographic type as the Sweet-lov- book depicted in the Annunciation (on the obverse of the ing (Gr. Glykophilousa), pointed in general terms to its left wing), reading: SA[M]V|EL|CRUG:|ERAN[N]O|1630 Balkan origins and dated it tentatively to the fourteenth PINX[IT], was deciphered. According to it, the panels century (?).7 He also repeated the supposition, already were painted by Samuel Cruger.12 What could not be de- stated in the Catalogue of Historic
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