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Józef Mehoffer’s competition design for the polychrome decoration of the Franciscan Church in Kraków, 1894. An attempt to reconstruct the artist’s decorative concept
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2022-12) Studziżba-Kubalska, Beata
Józef Mehoffer’s competition design for the painting decoration of the Franciscan Church in Kraków in 1894 has not yet been found. This article is an attempt to reconstruct the artist’s decorative concept on the basis of the surviving sketches for the project, as well as notes drawn and written in a sketchbook from 1893–1894. The artist, who was in Paris in February 1894, heard about the competition from Tadeusz Stryjeński. The project he sent to the jury in May 1894 did not meet the formal requirements; it was too sketch-like and unpolished and was not accepted. Mehoffer began work on it with detailed studies of sources and iconography, documented by his drawings and notes in his sketchbook. These bear witness to his technical dependence on Jan Matejko and the painters of the historicist school. The artist’s meticulous approach in this respect was perhaps one of the reasons why the project was not completed within the three-month deadline set by the jury. A stylistic analysis of Mehoffer’s sketches for the decoration of the Franciscan Church leads to the conclusion that they were created under the influence of Matejko’s polychrome decoration of the presbytery of St Mary’s Church in Kraków, as well as other sacral decoration of the second half of the 19 th century, associated with the current of academic historicism – an important model for the Polish artist was undoubtedly the polychrome decoration of the chapels of Notre Dame Cathedral in Paris – by Eugène Viollet-le-Duc and Maurice Ouradou. Mehoffer owed much of his inspiration for the iconography of his design, in which the dominant motifs were depictions of 13 th -century Polish saints, nuns, female rulers and Piast princes, to Matejko’s work, "The Defeat of Legnica – The Rebirth of Poland. 1241", 1888. The overall vision for the decoration of the Franciscan Church, which he did not include in the competition design but described in his notes, went beyond historicism. It demonstrates the artist’s sensitivity to the new trends in art at the turn of the 20 th century, and the fact that he was already aware of the profound changes taking place in the style of monumental painting and in the perception of its function.
The dialogue with literary and pictorial tradition. The projects of painted decorations of the John III Sobieski chapel in St Joseph’s Church on Kahlenberg, 1911–1914
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2019) Studziżba-Kubalska, Beata
According to tradition, on 12 September 1683, before the Battle of Vienna, John III Sobieski took part in a Holy Mass celebrated by the papal legate Marco d’Aviano in the Guardian Angels Chapel at the Church of St. Joseph on Kahlenberg near Vienna. The memory of this event was cultivated by the Polish community in Vienna from the mid-19th century on. Fr Jakub Kukliński, the Resurrectionist rector of the church on Kahlenberg since 1906, undertook the task of renovating the church and the chapel, which had been named the Sobieski Chapel. Two competitions were held for the interior decoration project. Finally, this task was entrusted to Józef Mehoffer at the end of 1911. His plans for the decorations include the monumental composition “Joannes Vinces”, 1912, with the scene of the Mass of Marc d’Aviano and two painting sketches are connected with his concept of decoration: “The Prayer of Innocent XI” and “The Archangel over the Battlefield”, 1912–1913. As requested by his clients, in the scene Joannes Vinces Mehoffer referred to the Austrian tradition of depicting the memorable mass on Kahlenberg, including the German commanders together with Sobieski and his son James. The painting “Joannes Vinces” is dominated by the means of expression characteristic of historical painting. Generally, Mehoffer’s concept of chapel decoration should be considered an expression of the artist’s search for new forms of monumental painting. His painting concept was not realized.