Sacrum - Paintings
Obrazy z serii Sacrum nawiązują
do najlepszych przykładów
światowej i są wizualną interpretacją obrazów wielkich mistrzów takich jak Rafael czy Tycjan. Obrazy te były tworzone przez prof. Z.
Leś od 1983 do 2020 roku. Obrazy tej serii stanowią swoistą wykładnię
hermeneutyki opartej na badaniach nad rozumieniem w naszym instytucie SQJRIU. Nie istnieje żadne naukowe opracowanie dotyczące złożoności interpretacyjnej
dzieł sztuki sakralnej malarstwa europejskiego w nieznacznym
nawet stopniu ukazujące problem „profanacji”
w odniesieniu do niekiedy
montowanego „collage” zła
w koegzystencji dobra, piękna
nalotem brzydoty czy też prawdy w upiornym „uścisku” fałszu i zakłamania. Manipulatorska moc muzeów i galerii powinna przynajmniej niewielkim stopniu zostać odtajniona dzięki naukowym badaniom naszego instytutu naukowego. Komentarze do poszczególnych dzieł sztuki są „parafrazą” analiz historyków sztuki. Dla nas Katolików
jest czymś obraźliwym
jeżeli tak na wystawie jak i w albumie świadomie zaciera się granice między sacrum i profanum, i musimy być poddawani terrorowi ‘estetyki’ pewnych mniejszości.
1. El Greco “Holy
Trinity” (“Trójca Święta”)
Trinity is one of Greco’s most popular works. In the
painting, the dead body of Christ is seen in the arms of God (the Father)
who is visibly broken and upset. A traditional Eastern Miter adorns the head of the Father. The dead weight
of Jesus’ tortured and crucified body is captured perfectly as the
elongated figure of Christ’ body is laid at an awkward angle. There is a
dove overhead, which many interprets as the symbolic representation of
the Holy Spirit. The painting is also populated by six grieving angels
surrounding the scene in a ‘V’ formation and cherubims
at Christ’s feet. The use of diverse colours in the robes emphasizes the
contrasting range of the colour palette selected by Greco for this
„Madonna with Child and four saints” („Maria z dzieciątkiem i czterema świętymi”)
The painting “Madonna
and Child with Four Saints” depicts Madonna and Child with saints:
St John the Baptist, Paul, Mary Magdalene and Hieronymus.
3. Ivan Kramskoi „Christ in the wilderness” (“Chrystus
of the picture is taken from the New Testament, the temptation of Christ
in the desert, where He retired for 40 days after His baptism. Christ by Kramskoy does not look like a King, but a suffering,
restless, and doubting person. There is already in His face both humility
and acceptance of His fate. The horizon line divides the picture into two
worlds: a cold, lifeless desert and a rising dawn. This glow of a new day
seems to proclaim the victory of light. The tightly clenched hands of
Christ are located exactly at the junction of the worlds — with these
hands the new life will be created. Christ’s feet are wounded on stones,
they make you feel as if you are touching something that hurts. Bloody
feet bring their element to the subject; looking at them, we understand
that the morning reflections were preceded by a sleepless night, a long
restless way through the darkness. Dawn is coming — and this path is
coming to its end.
4. El Greco „The
Disrobing of Christ” („Obnażenie Chrystusa z szat”)
painting shows Christ looking up to Heaven with an expression of
serenity; His idealized figure seems segregated from the other people and
the violence surrounding him. A figure dressed in black in the background
points at Christ accusingly, while two others argue over who will have
His garments. A man in green to Christ's left holds Him firmly with a
rope and is about to rip off His robe in preparation for his crucifixion.
At the lower right, a man in yellow bends over the cross and drills a
hole to facilitate the insertion of a nail to be driven through Christ's
feet. The radiant face of the Savior is
violently juxtaposed to the coarse figures of the executioners, who are
amassed around Him creating an impression of disturbance with their
movements, their gestures, and lances.
5. Jacopo Pontormo “Deposition
from the Cross” (“Zdjęcie z krzyża”)
painting represents the transportation of Christ toward his Father’s
merciful embrace. The colours are those seen by the mind experiencing a
vision of God. In a whirl of brightly colored
fabric and bodies in motion, a heavy and pale dead body that is Christ
rests atop unstable shoulders and in unsteady hands of another man.
Christ’s legs are draped over the shoulders of a man on tiptoes, almost
beckoning the viewer of the altarpiece to help carry Christ’s body that
has been heavied with sin. Mary is present in
this work, and she can be seen slightly larger than the other figures.
The position she is in along with her facial expression suggests that she
is displaying the late medieval concept of “the swooning Virgin”. Her
near petrified face looks as if she is about to faint. The lighting, the
elongated limbs, and the over dramatic facial expressions are all typical
of early mannerist works.
1. El Greco “Holy Trinity”
2. Tycjan „Madonna
with Child and four saints” 3. I. Kramskoj „Christ in the wilderness”
1. El Greco „The Disrobing of Christ” 5. Pontormo “Deposition from the Cross”
del Sarto “Assumption of the Virgin” (“Wniebowzięcie Maryi Panny”)
earth divide this picture into two parts. Above, the Virgin Mary ascends into
heaven, helped by a group of angels. Below, the Apostles marvel at the
event, as St. Thomas peers into Mary’s grave to check that her body is no
longer in there. Saints Nicholas and Margaret kneel in front of the
scene. The figure of the standing Apostle is serving as link between
Heaven and earth.
painting is typical of the High Renaissance in its rigid
7. Govanni Bellini “Madonna with
z Dzieciątkiem i
painting the Virgin sits enthroned with the infant Jesus lifting His
little hands to bless to worshipers. An angel at the foot of the altar
softly plays the violin, while the saints stand quietly at either side of
the throne. St. Peter with his key and book, St Catherine with the palm
of martyrdom and the broken wheel, St Lucy and St Jerome, the scholar who
translated the Bible into Latin, and whom Bellini therefore represented
as reading a book. Bellini’s Madonna is painted with a great dignity and
repose in comparison to many Madonnas with saints
who have been painted before and after.
8. Rafael “The
Sistine Madonna” (“Madonna Sykstyńska“)
painting the Madonna, holding the Christ Child and flanked by Saint Sixtus and Saint Barbara, stands on clouds before
dozens of obscured putti, while two distinctive winged putti rest on
their elbows beneath her. A prominent element within the painting, the
winged angels beneath Mary are famous in their own right. The angels of
this nature are known as putti.
of the curtain in this picture invoked a device that had been employed by
a number of the Old Masters as a trompe-l'oeil way of drawing the viewer
into the composition, pointing to the artifice of the scene, and also
showcasing their own ability to paint something as lifelike as the
drapery hanging in front of a picture.
6. Andrea del Sarto “Assumption of the Virgin”
7. G. Bellini “Madonna with Saints“ 8. Rafael “The
Bruegel the Older “The Fall of the Rebel Angels” (“Upadek
of the Rebel Angels” depicts the most powerful angel
along with the other fallen angels that have been banished from heaven.
Angels are falling from the sun in a stacked manner along with ungodly
creatures, presented in the grotesque, ugly or distorted, half-human and
half-apocalyptic form/shape. that Bruegel created.
details the first confrontation between Good and Evil, even before the
Fall of Man, when the most powerful angel turns upon the divine
Bruegel the Older „The Babel
partially constructed tower dominates the painting “The Tower of
Babel”. Surrounding the structure is a landscape dotted with tiny
figures, some of whom march in procession around its curving stories,
while others toil at the scaffolds along its sides. To the right, ships
unload building materials; in every respect of detail, the painting is
minutely, naturalistically accurate.
was created around the Biblical tale of the Towe of Babel. In so doing,
Bruegel chose a story intended to provide a moral directive around the
dangers of over-reaching ambition.
1. Pieter Breugel
the Elder “The Fall of the Rebel Angels” 2. Pieter Breugel the Elder „The Babel Tower”
Bosch “The Temptation of St.
Temptation of St. Anthony depicts his trials in different
stages. St. Anthony is a heroic representation of man faced with various
ugly demons with bodies made from vegetables, animal, human and lifeless
parts. Such monstrous creatures typify Bosch's artworks and The
Temptation of St Anthony is his greatest example of the
consequences faced by sinners in the depths of Hell.
background landscape is conveyed with acute detail which adds to the
terrifying tone of this work and enforces the reality of Hell awaiting
those who have deviated from God and all that is good. The artist's
portrayal of man's struggle against temptation and the omnipresence of
the Devil is one of the best examples of his personal iconography.
1. Hieronymus Bosch “The Temptation of St.