Chrystus Ukrzyżowany w katedrze Narodzenia Najświętszej Panny Marii w Sandomierzu. Tropem italianizmów w małopolskiej sztuce XIV w
| Autor: | Dobrosława Horzela |
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| Rok vydání: | 2022 |
| Předmět: | |
| Zdroj: | Biuletyn Historii Sztuki. 84:215-251 |
| ISSN: | 2719-4612 0006-3967 |
| DOI: | 10.36744/bhs.1401 |
| Popis: | The artistic questions related to the Gothic crucifix in Sandomierz Cathedral, up to now dated generally to the mid-15th century, have not aroused much academic interest so far. The studies of the work’s style, conducted on the occasion of its conservation in 2016, have pointed out to the importance of a type called crucifixi dolorosi both for the type and the way of execution of the sculpture in question. These links, however, are not of key importance for the explanation of the work’s artistic genesis. The present paper suggests that the crucifix is a work of an artist active in Lesser Poland in the third quarter of the 14th century who was aware of the artistic devices used in Tuscany in the circle of Andrea di Cione, called Orcagna (1308–1368), by sculptors such as Maestro del Crocifisso di Camaiore and his followers. The results of a stylistic analysis confirm the conclusions reached on the grounds of the newly-discovered original polychromy of the loincloth. The ornament decorating it echoes Italian fabrics whose representations can be found in the painting by such Tuscan artists as Andrea di Cione himself, but also by e.g., Bernardo Daddi or Jacopo di Cione. The Sandomierz crucifix, next to the so-called Crucifix of Queen Hedwig in Cracow Cathedral, should be considered as another example in Lesser Poland of the reception of Italian art in Central Europe in the latter half of the 14th century. |
| Databáze: | OpenAIRE |
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