Nowe znalezisko z Jass jako źródło do analizy obrazu "Chrzest Armenii" pędzla Teodora Axentowicza

New Discovery in Iaşi as a Source for Analysis of the "Picture Baptism" of Armenia by Teodor Axentowicz The author compares the oil painting showing the baptism of Thyristates III, King of Armenia, recently found in the Armenian-Apostolic church in Iaşi and attributed (due to the inscr...

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Autor principal:	Andrzej A. Zięba
Formato:	article
Lenguaje:	EN FR PL
Publicado:	Ksiegarnia Akademicka Publishing 2019
Materias:	Teodor Axentowicz Feliks Kasper Orlikowski Suceava Iaşi Romanian Armenians History of Poland DK4010-4800 Human settlements. Communities HT51-65
Acceso en línea:	https://doaj.org/article/f221d3441a6b4e87b5bf6f946a6061c3
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spelling	oai:doaj.org-article:f221d3441a6b4e87b5bf6f946a6061c32021-11-27T12:57:18ZNowe znalezisko z Jass jako źródło do analizy obrazu "Chrzest Armenii" pędzla Teodora Axentowicza10.12797/LH.06.2019.06.112082-61842449-870Xhttps://doaj.org/article/f221d3441a6b4e87b5bf6f946a6061c32019-12-01T00:00:00Zhttps://journals.akademicka.pl/lehahayer/article/view/1128https://doaj.org/toc/2082-6184https://doaj.org/toc/2449-870X New Discovery in Iaşi as a Source for Analysis of the "Picture Baptism" of Armenia by Teodor Axentowicz The author compares the oil painting showing the baptism of Thyristates III, King of Armenia, recently found in the Armenian-Apostolic church in Iaşi and attributed (due to the inscription on the back of the canvas) to Teodor Axentowicz, to the work of the same painter on the same subject that is currently displayed in the Roman Catholic church of St. Peter and St. Paul in Gdańsk. He claims that the painting from Iaşi is probably a copy of Axentowicz’s original work from around 1901 and it fully shows his original composition that was intended for the Armenian Catholic altar in the Roman Catholic church in Suceava. By contrast, the painting from Gdańsk only depicts the central part of the original. The reasons for this reduction remain unknown. Perhaps this was done by the buyer to adapt the image to the altar on which it was exhibited, or by the author himself to enhance the artistic value of the new version. The article also talks about the identification of another painting that captured the baptism of the Armenian king. The work was created in Lwów in 1839 by another Polish painter, Feliks Kasper Orlikowski, and it was intended for an unspecified Armenian church in Suceava. It may be that it was meant for the Armenian monastery Hagigadar located in the suburbs of the city. Andrzej A. ZiębaKsiegarnia Akademicka PublishingarticleTeodor AxentowiczFeliks Kasper OrlikowskiSuceavaIaşiRomanian ArmeniansHistory of PolandDK4010-4800Human settlements. CommunitiesHT51-65ENFRPLLehahayer, Vol 6 (2019)
institution	DOAJ
collection	DOAJ
language	EN FR PL
topic	Teodor Axentowicz Feliks Kasper Orlikowski Suceava Iaşi Romanian Armenians History of Poland DK4010-4800 Human settlements. Communities HT51-65
spellingShingle	Teodor Axentowicz Feliks Kasper Orlikowski Suceava Iaşi Romanian Armenians History of Poland DK4010-4800 Human settlements. Communities HT51-65 Andrzej A. Zięba Nowe znalezisko z Jass jako źródło do analizy obrazu "Chrzest Armenii" pędzla Teodora Axentowicza
description	New Discovery in Iaşi as a Source for Analysis of the "Picture Baptism" of Armenia by Teodor Axentowicz The author compares the oil painting showing the baptism of Thyristates III, King of Armenia, recently found in the Armenian-Apostolic church in Iaşi and attributed (due to the inscription on the back of the canvas) to Teodor Axentowicz, to the work of the same painter on the same subject that is currently displayed in the Roman Catholic church of St. Peter and St. Paul in Gdańsk. He claims that the painting from Iaşi is probably a copy of Axentowicz’s original work from around 1901 and it fully shows his original composition that was intended for the Armenian Catholic altar in the Roman Catholic church in Suceava. By contrast, the painting from Gdańsk only depicts the central part of the original. The reasons for this reduction remain unknown. Perhaps this was done by the buyer to adapt the image to the altar on which it was exhibited, or by the author himself to enhance the artistic value of the new version. The article also talks about the identification of another painting that captured the baptism of the Armenian king. The work was created in Lwów in 1839 by another Polish painter, Feliks Kasper Orlikowski, and it was intended for an unspecified Armenian church in Suceava. It may be that it was meant for the Armenian monastery Hagigadar located in the suburbs of the city.
format	article
author	Andrzej A. Zięba
author_facet	Andrzej A. Zięba
author_sort	Andrzej A. Zięba
title	Nowe znalezisko z Jass jako źródło do analizy obrazu "Chrzest Armenii" pędzla Teodora Axentowicza
title_short	Nowe znalezisko z Jass jako źródło do analizy obrazu "Chrzest Armenii" pędzla Teodora Axentowicza
title_full	Nowe znalezisko z Jass jako źródło do analizy obrazu "Chrzest Armenii" pędzla Teodora Axentowicza
title_fullStr	Nowe znalezisko z Jass jako źródło do analizy obrazu "Chrzest Armenii" pędzla Teodora Axentowicza
title_full_unstemmed	Nowe znalezisko z Jass jako źródło do analizy obrazu "Chrzest Armenii" pędzla Teodora Axentowicza
title_sort	nowe znalezisko z jass jako źródło do analizy obrazu "chrzest armenii" pędzla teodora axentowicza
publisher	Ksiegarnia Akademicka Publishing
publishDate	2019
url	https://doaj.org/article/f221d3441a6b4e87b5bf6f946a6061c3
work_keys_str_mv	AT andrzejazieba noweznaleziskozjassjakozrodłodoanalizyobrazuchrzestarmeniipedzlateodoraaxentowicza
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Nowe znalezisko z Jass jako źródło do analizy obrazu "Chrzest Armenii" pędzla Teodora Axentowicza

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