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Studia Muzealne Zeszyt Xxi / 2015 Muzealne Zeszyt Studia MUZEUM NARODOWE W POZNANIU • ZESZYT XXI • 2015 ROK ISBN 978-83-64080-07-4 ISSN 0137-5318 STUDIA MUZEALNE ZESZYT XXI / 2015 MUZEALNE ZESZYT STUDIA ZESZYT XXI POZNAÑ 2015 Redaktor naczelny: Wojciech Suchocki Zastępca redaktora: Adam Soćko Sekretarz redakcji: Agnieszka Skalska Autorzy: Joanna Bryl, Witold Garbaczewski, Katarzyna Gieszczyńska-Nowacka, Inga Głuszek, Olimpia Gołdys, Anna Grabowska-Konwent, Grażyna Maria Hałasa, Paweł Ignaczak, Mariusz Karpowicz, Ju- styna Kowalińska, Wacława Milewska, Agnieszka Patała, Danuta Rościszewska, Aneta Skibińska, Maciej Tybus Recenzent: Tadeusz J. Żuchowski Redakcja merytoryczna: Wojciech Suchocki, Adam Soćko Tłumaczenie streszczeń na język angielski: Marcin Turski Redakcja wydawnicza: Teresa Basińska Projekt graficzny: Ewa Wąsowska Skład i przygotowanie do druku: Lucyna Majchrzak Skanowanie i opracowanie materiału ilustracyjnego: Tomasz Niziołek Kierownictwo produkcji: Urszula Namiota Fotografie: Tomasz Andrzejczak i Jakub Baszczyński (s. 63, 87, 88, 124, 131, 207, 209, 210, 222–226/ Pracownia Fotografii Cyfrowej MNP pod kierownictwem Jacka Ustasiaka/), W. Bouillon (s. 112), Adam Cieślawski (s. 91, 106, 147, 150, 151, 154, 155, 159, 164, 165, 170, 187), Adam Cupa (s. 94), Jürgen Fuhr- mann (s. 111); Katarzyna Gieszczyńska-Nowacka (s. 87, 121, 129, 140, 229, 230), Horst Glanz (s. 112), W. Górski (s. 15, 19–22, 27, 39), Mariusz Karpowicz (s. 11–14, 16, 17, 19, 21, 22, 24–26, 29–40, 42–48, 50, 54–59), Włodzimierz Kowaliński (s. 202), Anna Michnikowska (s. 199), M. Nowak (s. 22, 27, 28, 43), Agnieszka Patała (s. 74, 75, 78), Marek Peda (s. 195–201), Kazimierz Staszków (s. 125), Aneta Skibińska (s. 211), Maciej Tybus (s. 92), Maciej Żyto (s. 58); ze zbiorów: © Ashmolean Museum, Oksford (s. 141); © Bayerische Staatsbibliothek, München (s.111); © Bibliothek Kloster Sankt Walburg, Eichstätt (s. 111); © Bildarchiv Marburg (s. 78); © Fundacja im. Raczyńskich przy Muzeum Narodowym w Poznaniu ( s. 91); © Hamburger Kunsthalle, Hamburg – Copyright: bpk / Hamburger Kunsthalle / Christoph Irrgang (s. 125); © Harvard Art Museums/Fogg Museum, The Melvin R. Seiden Fund, Louise Haskell Daly Fund and Paul J. Sachs Memorial Fund – Imaging Departament © President and Fellows of Harvard College (s. 121); © Львівська національна наукова бібліотека України імені Василя Стефаника (s. 208); © Muzeum Narodowe w Poznaniu (s. 63, 74, 87, 98, 106, 121, 124, 128, 131, 140, 147, 150, 151, 154, 155, 159, 164, 165, 170, 187, 195–201, 207, 209–212, 222–226, 229, 230); © Muzeum im. Jacka Malczewskiego w Radomiu (s. 151); © Muzeum Narodowe we Wrocławiu (s. 75, 76); © Muzeum Śląskie w Katowicach (s. 79); © Muzeum Ziemi Nyskiej (s. 113); © National Gallery of Art w Waszyngtonie – Wolfgang Ratjen Collection, Patrons’ Permanent Fund (s. 125); © Sheffield Galleries and Museums Trust – foto © Museum Sheffield / Bridgeman Images (s. 141); © Slezské zemské muzeum, Opawa (s. 78); własność prywatna (s. 171, 215, 217–220) Zgoda na zamieszczenie fotografii: © W. Bouillon (s. 112), © Adam Cupa (s. 94), © Jürgen Fuhrmann (s. 111), © Anton Feil, © Horst Glanz (s. 112), © W. Górski (s. 15, 19–22, 27, 39), © Mariusz Karpowicz (s. 11–14, 16, 17, 19, 21, 22, 24–26, 29–40, 42–48, 50, 54–59), © Włodzimierz Kowaliński (s. 202), © M. Nowak (s. 22, 27, 28, 43), © Agnieszka Patała (s. 74, 75, 78), © Kazimierz Staszków (s. 125), © Maciej Tybus (s. 92), © Maciej Żyto (s. 58); ze zbiorów: © Ashmolean Museum, Oksford (s. 141); © Bayerische Staatsbibliothek, München (s.111); © Bibliothek Kloster Sankt Walburg, Eichstätt (s. 111); © Bildarchiv Marburg (s. 78); © Fundacja im. Raczyńskich przy Muzeum Narodowym w Poznaniu ( s. 91); © Hamburger Kunsthalle, Hamburg – Copyright: bpk / Hamburger Kunsthalle / Christoph Irrgang (s. 125); © Harvard Art Museums/Fogg Museum, The Melvin R. Seiden Fund, Louise Haskell Daly Fund and Paul J. Sachs Memorial Fund – Imaging Departament © President and Fellows of Harvard College (s. 121); © Львівська національна наукова бібліотека України імені Василя Стефаника (s. 208); © Muzeum Narodowe w Poznaniu (s. 63, 74, 87, 98, 106, 121, 124, 128, 131, 140, 147, 150, 151, 154, 155, 159, 164, 165, 170, 187, 195–201, 207, 209–212, 222–226, 229, 230); © Muzeum im. Jacka Malczewskiego w Radomiu (s. 151); © Muzeum Narodowe we Wrocławiu (s. 75, 76); © Muzeum Śląskie w Katowicach (s. 79); © Muzeum Ziemi Nyskiej (s. 113); © National Gallery of Art w Waszyngtonie – Wolfgang Ratjen Collection, Patrons’ Permanent Fund (s. 125); © Sheffield Galleries and Museums Trust – foto © Museum Sheffield / Bridgeman Images (s. 141); © Slezské zemské muzeum, Opawa (s. 78); własność prywatna (s. 171, 215, 217–220) Okładka: Bazylika jasnogórska, nawa główna, III przęsło, fot. Mariusz Karpowicz Druk: Zakład Poligraficzny Moś i Łuczak Sp.j., Poznań © Copyright by Muzeum Narodowe w Poznaniu, 2015 ISBN 987-83-64080-07-4 SPIS TREŚCI Studia Mariusz Karpowicz Alberto Bianco – stiukator wielkopolski ....................................................................................... 7 Mariusz Karpowicz W poszukiwaniu autora bazyliki jasnogórskiej ........................................................................... 54 Inga Głuszek Scena sądu Parysa na lustrze brązowym ze zbiorów Muzeum Narodowego w Poznaniu .......... 62 Agnieszka Patała Kwatera z Tronem Łaski z Byczyny – uwagi na temat podrysowań, pierwotnego kształtu i przypuszczalnych losów obiektu ............................................................................................... 73 Danuta Rościszewska Mleczarka Lucasa van Leyden – dziwna odbitka znanej grafiki .................................................. 86 Maciej Tybus Madonna z Dzieciątkiem i barankiem przypisywana Quentinowi Massysowi z Muzeum Narodowego w Poznaniu w świetle relacji pomiędzy południowymi Niderlandami a północną Italią w 1 ćwierci XVI wieku ..................................................................................... 91 Olimpia Gołdys Św. Kümmernis („Frasobliwa”) na beresteckiej tezie z 1743 roku ........................................... 106 Grażyna Maria Hałasa Rysunki Juliusa Schnorra von Carolsfelda do Bibel in Bildern w zbiorach Gabinetu Rycin Muzeum Narodowego w Poznaniu ............................................................................................ 120 Paweł Ignaczak Nieznany rysunek Camille’a Pissarra w Muzeum Narodowym w Poznaniu ........................... 139 Wacława Milewska Autorskie „ja” Jacka Malczewskiego, czyli o autoportretach malarza w świetle światopoglądu modernizmu i genezyjskiej filozofii Juliusza Słowackiego (w 160. rocznicę urodzin artysty) .... 146 Joanna Bryl Liczbowa struktura życia. Dzieło sztuki współczesnej jako temat pracy dydaktycznej na przykładzie Detalu II Romana Opałki z cyklu „OPAŁKA 1965 / 1–∞” ............................. 186 Justyna Kowalińska Posą¿ek Buddy Amitajusa w zbiorach Muzeum Etnograficznego w Poznaniu ......................... 194 Aneta Skibińska O tym, jak święty Wawrzyniec świętym Walentym był ............................................................. 206 Katarzyna Gieszczyńska-Nowacka Galeria Ciecierskich i jej twórca. Zapomniany fragment dziejów poznańskiego muzealnictwa ....216 Komunikaty Witold Garbaczewski Złoty medal chrzcielny Sebastiana Dadlera – cenny nabytek Muzeum Narodowego w Poznaniu ................................................................................................................................. 250 Sprawozdania Anna Grabowska-Konwent Odkrywanie archiwum Romana Cieślewicza ............................................................................ 255 Studia Alberto Bianco – stiukator wielkopolski Mariusz Karpowicz Czasy Sobieskiego i okres przełomu wie- Lugano, gdzie urodził się ów Giovanni Bat- Alberto Bianco ków to epoka istnego „triumfu stiuku”1. To tista. Przy okazji udało się ustalić jego datę tanie i łatwe w wykonaniu tworzywo, zna- urodzin, podawaną przez słowniki orien- – stiukator ne u nas już co najmniej od dwóch stuleci, tacyjnie na 1660 r. Otóż przyszedł na świat wielkopolski propagowane było wówczas w zasadzie pra- 16 V 1659 r. jako „Joannes Baptista filius Ma- wie wyłącznie przez Włochów, zwłaszcza w stri Dominici Bianco et Lucia”7. A więc dru- ostatniej ćwierci XVII w. oglądamy masowy giego imienia brak. napływ stiukatorów z Krainy Jezior Alpej- Drugim sprawdzianem były wizyty w opa- skich. Dziś już znamy z imienia i z nazwiska ctwie St. Florian. Wynik znowu negatyw- kilkudziesięciu, ale daleko jest jeszcze do wy- ny. Tym razem wykonywał nie tylko stiuki czerpania problemu. A wśród nich dorobek we wnętrzu, ale i figury fasady8. Wszystko największy, dekoracje najliczniejsze i warsz- do poznańskich realizacji zgoła niepodob- tat co się zowie gigantyczny, zakasowujący ne. Giovanni Battista reprezentuje zupełnie wszelkie inne, reprezentuje stiukator wiel- inną orientację artystyczną, jest w oczywi- kopolski Alberto Bianco. sty sposób związany i wykształcony w słyn- Do literatury naukowej wprowadziła go nym warsztacie rodziny Carloni z miejsco- w zasadzie Anna Dobrzycka2. Powołując się wości Lanzo d’Intelvi, odległej od Campione na znalezioną wcześniej notatkę w kronice d’Italia 2 km, w prostej linii. Warsztatu, który jezuitów poznańskich, że stiuki wykonał ja- między innymi wsławił się dekoracją katedry kiś „Bianco” (bez podania imienia)3, przed- w Passawie. Dzieło sztuki ma zawsze rację. stawiła Dobrzycka własną identyfikację owe- Skoro stiuki w St. Florian mówią nam, że po- go stiukatora. Wedle niej musiał on być iden- znański Bianco nie może być ich autorem – to tyczny ze znanym stiukatorem
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