Architect Domenico Fontana: in the mazes of authorship
| Autor: | Kaladžinskaitė, Auksė |
|---|---|
| Jazyk: | litevština |
| Rok vydání: | 2018 |
| Předmět: |
Jėzuitai / Jesuits
Architektai / Architects Gardinos pavietas Vilnius. Vilniaus kraštas (Vilnius region) Trakų vaivadija Varšuva Domenico Fontana Autorystė Gardinas Lietuva (Lithuania) Baltarusija (Belarus) Lenkija (Lenkijos karalystė Rzeczpospolita Polska Kingdom of Poland Poland) Trakai Architektūra / Architecture Italai Vygriai |
| Zdroj: | Menotyra 2018, t. 25, Nr. 4, p. 259-277. |
| ISSN: | 1392-1002 2424-4708 |
| Popis: | Straipsnis skirtas aptarti italų kilmės architekto Domenico (Dominik) Fontanos (g. apie 1680 – m. prieš 1755) biografiją ir profesinę veiklą Lietuvos Didžiojoje Kunigaikštystėje. Publikacijoje pateikiami ir patikslinami duomenys apie jo kilmę ir šeimą, analizuojami šaltiniai, liudijantys jo darbus Gardino paviete ir Vilniuje. Remiantis istoriniais faktais ir architektūros paminklų stilistiniais bruožais, keliama autorystės problema. The article is dedicated to the discussion of the biography of Italian-born architect Domenico Fontana (b. circa 1680 – d. before 1755) and his professional activities in the Grand Duchy of Lithuania. The publication presents data about his origins and the circumstances of his arrival in the GDL. The sources affirming his activity in the Grodno Powiat and Vilnius are analysed. Historical sources confirm that in 1726 Domenico Fontana was building a refectory in a monastery for the Jesuits of Grodno (he did not fulfil his obligations and did not complete his work) and served as an expert upon request by Paulius Karolis Sanguška: evaluated the in-progress construction project of the residence and designed and built the Palace of Mykolas Kazimieras Radvila Žuvelė in 1739 (the building has not survived). Based on the stylistic characteristics of the sole surviving object he designed and built in 1720–1736, the Grodno Basilian Church, the objects are analysed to whose construction he could have contributed according to indirect attestations in the sources. It is concluded that it is still difficult to characterise Domenico Fontana’s individual style based on the known yet insufficient facts about his activities. In order to establish Fontana’s stylistic manner, an analysis of only the Grodno Basilian Church is not sufficient. Similarly reserved, laconic, and ascetic forms of Baroque were gaining prominence as a result of the architect Tylman van Gameren’s popularity in Warsaw at the time. Directions for further research are indicated. |
| Databáze: | OpenAIRE |
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