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Plikuje Fakt, Że Na Tylnych Ścianach Dawnego Z Rycinami I Rysunkami MUZEUM NARODOWE W POZNANIU • ZESZYT XXIV • 2019 ROK ISBN 978-83-64080-53-1 ISSN 0137-5318 STUDIA MUZEALNE ZESZYT XXIV / 2019 XXIV MUZEALNE ZESZYT STUDIA ZESZYT XXIV POZNAŃ 2019 Rada Naukowa: prof. dr hab. Grażyna Jurkowlaniec, Uniwersytet Warszawski; prof. dr hab. Piotr Juszkie- wicz, Uniwersytet im. Adama Mickiewicza w Poznaniu; prof. dr hab. Waldemar Kuligowski, Uniwersytet im. Adama Mickiewicza w Poznaniu; prof. dr hab. Lechosław Lameński, Katolicki Uniwersytet Lubelski Jana Pawła II; dr hab. Przemysław Mrozowski, Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie; prof. UAM dr hab. Paweł Stróżyk, Uniwersytet im. Adama Mickiewicza w Poznaniu; prof. dr hab. Marzena Szmyt, Uniwersytet im. Adama Mickiewicza w Poznaniu; prof. UMK dr hab. Jacek Tylicki, Uniwersytet Miko- łaja Kopernika w Toruniu; prof. UMK dr hab. Michał Woźniak, Uniwersytet Mikołaja Kopernika w Toruniu Kolegium redakcyjne: Adam Soćko, Agnieszka Skalska, Maria Gołąb Sekretarz redakcji: Agnieszka Skalska Autorzy: Kamila Kłudkiewicz, Justyna Kowalińska, Jacek Kowalski, Martyna Łukasiewicz, Danuta Rości- szewska Recenzja wydawnicza: Aleksandra Bernatowicz, Waldemar Deluga, Inga Głuszek, Eleonora Jedlińska, Waldemar Kuligowski, Michał Mencfel, Andrzej Pieńkos Redakcja merytoryczna: Adam Soćko Tłumaczenie streszczeń na język angielski: Marcin Turski Projekt graficzny: Ewa Wąsowska Redakcja wydawnicza: Magdalena Knapowska-Niziołek Skład i przygotowanie do druku: Lucyna Majchrzak, Tomasz Niziołek Opracowanie materiału ilustracyjnego: Tomasz Niziołek Kierownictwo produkcji: Urszula Namiota Fotografie: Walter Apelt, Adam Cieślawski,Nicolas Guérin, Sławomir Obst, Arkadiusz Podstawka, Andrzej Ring, Lech Sandzewicz, A. Skowrońska, Pracownia Fotograficzna Muzeum Narodowego w Krakowie, ze zbiorów: Fundacji im. Raczyńskich przy Muzeum Narodowym w Poznaniu, Muzeum Narodowego w Kra- kowie, Muzeum Narodowego w Poznaniu, Muzeum Narodowego we Wrocławiu, Zamku Królewskiego w Warszawie – Muzeum Zgoda na zamieszczenie fotografii: Walter Apelt,Nicolas Guérin, A. Skowrońska, Pracownia Fotograficz- na Muzeum Narodowego w Krakowie, ze zbiorów: Fundacji im. Raczyńskich przy Muzeum Narodowym w Poznaniu, Muzeum Narodowego w Krakowie, Muzeum Narodowego w Poznaniu, Muzeum Narodowego we Wrocławiu, Zamku Królewskiego w Warszawie – Muzeum Okładka: Bernardo Bellotto zw. Canaletto, Elekcja Stanisława Augusta na Woli, 1776, Fundacja im. Raczyń- skich przy Muzeum Naro dowym w Poznaniu, nr inw. MNP FR 547, fragment Druk: Zakład Poligraficzny Moś i Łuczak Sp.j., Poznań © Copyright by Muzeum Narodowe w Poznaniu, 2019 ISBN 978-83-64080-53-1 ISSN 0137-5318 SPIS TREŚCI Danuta Rościszewska Dwanaście miesięcy – problemy z serią rysunków Lamberta van Noorta ......................... 7 Jacek Kowalski Chorągwie, tron i suffragia. Elekcja Stanisława Augusta Poniatowskiego Bernarda Bellotta między polityczną fikcją a historyczną rzeczywistością .................................................... 22 Kamila Kłudkiewicz Ilustracje ze Wspomnień Wielkopolski Edwarda Raczyńskiego – pomiędzy malowniczymi widokami a dokumentacją zabytków ...................................... 58 Martyna Łukasiewicz Nostalgia za malarstwem. Miejsce Detalu 35328–57052 Romana Opałki z kolekcji Muzeum Narodowego w Poznaniu w Programie OPALKA 1965/1 – ∞ .......................................................................................78 Justyna Kowalińska Kosz ze skorupy pancernika. Osobliwy eksponat w zbiorach Muzeum Etnograficznego w Poznaniu ........................................................ 89 Dwanaście miesięcy – problemy z serią rysunków Lamberta van Noorta Danuta Rościszewska Pochodzący z Amersfoort koło Utrechtu prac, a najwięcej niejasności pojawia się przy Dwanaście Lambert van Noort (ok. 1520–1570/71) od próbie odtworzenia historii obiektów. 1549 r. aż do śmierci pracował w Antwerpii. Zsuzsanna van Ruyven-Zeman we wspo- miesięcy – Pozostawił po sobie dwadzieścia obrazów mnianej pracy doktorskiej stwierdziła, że ry- problemy oraz ponad sześćdziesiąt rysunków. Jego sunki były projektem fryzu przeznaczonego specjalnością były projekty witraży do okien do dekoracji ścian4. Jednak w opublikowanej z serią rysunków kościelnych, choć wykonał też pewną liczbę i przeredagowanej wersji tej rozprawy odno- Lamberta wzorów do grafik. Przechowywana w Gabine- towuje brak znanych przykładów tego typu cie Rycin MNP ciekawa seria rysunków tego realizacji w sztuce niderlandzkiej XVI w. van Noorta autora Dwanaście miesięcy (fot. 1–12) nie jest i skłania się do koncepcji, że były to wzory szerzej znana, ponieważ nie doczekała się zbyt do tapiserii5. Można jeszcze rozważyć ewen- wielu publikowanych omówień. Po raz pierw- tualność, że były to rysunki do obrazów na szy pojawiła się w katalogu wystawy Między szkle, jednak w takim przypadku należałoby renesansem i klasycyzmem prezentowanej się raczej spodziewać kompozycji pionowych w Muzeum Narodowym w Poznaniu w lutym bądź ujętych w kwadrat lub okrąg. Tymcza- i marcu 1995 r. Opisując pokrótce cały cykl, sem przedstawienia miesięcy mają formę skupiono tam uwagę na przedstawieniach poziomych, wydłużonych prostokątów, Lutego i Października, które jako jedyne zosta- a taki kształt skłania jednak do przyjęcia ły zaprezentowane na tej wystawie1. W tym tezy, że są to projekty do tapiserii. Przema- samym roku ukazała się książka Zsuzsanny wia za tym również fakt, że pory roku czy van Ruyven-Zeman, będąca zmienioną nieco miesiące były bardzo popularnym tematem wersją jej pracy doktorskiej z 1990 r. Badaczka XV- i XVI-wiecznych tkanin dekoracyjnych6. analizuje rysunki van Noorta, rozważając Na początku XVI w. pojawiły się cykle gobe- zarówno problem miejsca wykonania prac, linów, w których poszczególnym miesiącom jak i cel ich powstania2. Po raz pierwszy serię poświęcono oddzielne tapiserie. Najwcze- pokazano w całości na wystawie Życie sztuką, śniejszy zachowany zespół tego rodzaju to poświęconej kolekcji Izabeli z Czartoryskich tzw. Miesiące Trivulzia, czyli seria gobelinów Działyńskiej i prezentowanej w Muzeum wykonana w latach 1501–1504 dla Gian Gia- Narodowym w Poznaniu od maja do sierpnia como Trivulzia (1440/1441–1518), według 2018 r. W katalogu tej wystawy zamieszczono wzoru Bramantina7. Z kolei w zbiorach kilku fotografie wszystkich prac wraz z krótką notą amerykańskich placówek muzealnych (Me- opisującą całą serię3. tropolitan Museum of Art, Nowy Jork; Art Lambert van Noort sygnował i datował Institute of Chicago; Minneapolis Institute swoje dzieła, dzięki czemu uwolnił potom- of Arts; Dumbarton Oaks Research Library nych od niepewności dotyczącej autorstwa and Collection, Waszyngton) znajdują się i czasu wykonania dzieł. Tak było również gobeliny z serii Medaliony z Miesiącami. Do w przypadku omawianej serii, jednak już tylko naszych czasów zachowało się ich sześć: Luty, poszlaki pozwalają określić miejsce jej powsta- Kwiecień, Lipiec, Sierpień, Wrzesień i Paź- nia. Podobnie rzecz się ma z przeznaczeniem dziernik. Na każdym z nich w górnej części rysunków, wątpliwości budzi też kolejność ukazano bóstwo opiekuńcze miesiąca, a niżej 7 Danuta Rościszewska 1. Lambert van Noort, zajęcia charakterystyczne dla określonej Lambert van Noort był autorem jednego Styczeń z serii Dwanaście pory. Przedstawienie otacza pas zodiakalny projektu do tapiserii. W latach 1567–1568 miesięcy, 1558, pióro brązowym atramentem w kształcie owalu, przy czym znak odpowied- Stany Brabancji powzięły zamiar ozdobie- z szaroniebieskim lawowa- ni dla danego miesiąca znajduje się w najwyż- nia Sali Posiedzeń w ratuszu brukselskim niem, 20,9 × 40,9 cm, MNP Gr 462 szym punkcie kompozycji. Poniżej znaku, tkaninami przedstawiającymi cztery główne 2. Lambert van Noort, a powyżej olimpijskiego boga, umieszczono miasta tego regionu: Lowanium, Brukselę, Luty z serii Dwanaście nazwę miesiąca. Owalny pas zodiakalny na- Antwerpię i ’s-Hertogenbosch (franc. Bois- miesięcy, 1558, pióro brązowym atramentem daje kompozycji charakter medalionu, stąd -le-Duc). Zrealizowanie projektu gobelinu z szaroniebieskim lawo- nazwa serii. Została ona zaprojektowana ok. z przedstawieniem tego ostatniego miasta waniem, 20,4 × 40,8 cm, 8 MNP Gr 463 1525 r., a powstała w Brukseli przed 1528 r. zlecono Lambertowi. Artysta wywiązał 8 Dwanaście miesięcy – problemy z serią rysunków Lamberta van Noorta 3. Lambert van Noort, się z zamówienia, choć projekt dostarczył 1558. a. 23 Desem). Przypuszczalnie prace Marzec z serii Dwanaście z pewnym opóźnieniem. Tkaniny zostały powstały podczas podróży van Noorta do miesięcy, 1558, pióro brązowym atramentem wykonane w Brukseli i, tak jak planowano, Włoch. Badacze uważają, że miała ona miej- z szaroniebieskim lawo- zawieszono je w Sali Posiedzeń tamtejszego sce w latach 1558–1559, ponieważ właśnie waniem, 20,9 × 40,9 cm, MNP Gr 464 ratusza – widok ’s-Hertogenbosch obok wtedy pojawia się luka w jego udokumen- 9 4. Lambert van Noort, widoku Lowanium . towanym pobycie w Antwerpii. Prawdopo- Kwiecień z serii Dwanaście Rysunki z serii Dwunastu miesięcy opa- dobnie wrócił do tego miasta jesienią 1559 r. miesięcy, 1558, pióro brązowym atramentem trzone zostały przez autora datą 1558, a na Według van Ruyven-Zeman za powstaniem z szaroniebieskim lawo- karcie przedstawiającej Marzec pojawiła się tych rysunków podczas podróży do Włoch waniem, 20,4 × 42,3 cm, nawet data dzienna – 23 grudnia 1558 r. (Ao. miałaby również świadczyć sygnatura na MNP Gr 465 9 Danuta Rościszewska 5. Lambert van Noort, karcie z przedstawieniem Kwietnia10, którą nazwę miasta, tym razem prawie w całości: Maj z serii Dwanaście odczytała jako L. A. NOORT.
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