The Ethnology Notebooks. 2018, 6 (144), 1623–1630
WALL PAINTINGS OF THE TEMPLES IN LVIV REGION BY MARTIN JABLONSKI IN THE CONTEXT OF HIS ARTISTIC HERITAGE
ORCID ID: https://orcid.org/0000-0002-8332-0506
Mulyk Alina, Postgraduate student,
Lviv National Academy of Arts,
38 Kubiiovycha Str., 79011, Lviv, Ukraine.
Contacts: e-mail: firstname.lastname@example.org
Abstract. The article examines the work of one of the most talented artists of the Romantic era in Galicia, Martin Yablonsky — a famous Lviv portrait painter, lithographer, master of religious painting whose creative activity covers XIX century.
In the scientific literature, the name of Martin Yablonsky often meets but most of the publications are devoted to Yablonsky as a portraitist. They are shown in detail in his works as an artist where provides deep analysis of themes and stylistic of the individual pictures. There is a lack of information about Yablonsky as a wall painter.
His works are presented, mostly, in the form of single references and are characterized by an episodic character which does not allow fully unleash the artistic importance and the value of monumental works of the Master.
Martin Yablonsky (1801—1876) was a notable figure of Lviv artistic environment of the XIX century. He obtained his first education at Lviv high school, later he mastered artistic education in Krakow, Warsaw and Vienna. In Galicia, M. Yablonsky began his creative career from small towns, combining painting practice with restoration activity. In 1820 the artist moved to Lviv where he soon achieved great success, mainly as a portraitist.
Being a representative of the era of romanticism, M. Yablonsky focuses on the technical perfection of the painting, his works are characterized by cold colors and the portraits are distinguished by some static. Early works reveal the artist’s way of forming his creative writing and finding his own individual style. They are distinguished by the maximum approach to nature, some ceremonial representativeness, isolation and restraint of images.
The 1840’s marked a noticeable decline in the work of M. Yablonsky. In 1850 he opened a publishing and lithographic workroom on Valova street in Lviv where he worked on his own in the areas of restoration and lithography.
In the XIX century the custom-made religious art is actively developing, though it was not widespread in the XVIII century. Martin Yablonsky worked a lot for the churches, mostly in Lviv region. He was engaged in religious art, painting and restoring of various plot multi-figure compositions, altar wall paintings and polychromy.
Some sources point out that the artist painted about 120 altar icons and 1600 portraits. However, there are no publications with a description or a comprehensive analysis of his religious works. Accordingly, the relevance of the study of Martin Yablonsky wall paintings in the temples where he worked, assessing the state of preservation of his paintings and restoration as needed. He worked as a painter in many religious buildings of Lviv, including the Latin Cathedral, St. Anne Church, the Bernardine Church, the Dominican Church, the Jesuit Church, the Armenian Church, Assumption Church, St. Spirit Church and St. Onuphrius Church.
The creative work of M. Yablonsky is known not only in Lviv temples. The artist also worked outside the city, mostly in Lviv region: in the village Potelych, Pidkamin, Sambir and Dobromyl. There is the information that Lviv artist painted frescoes on the walls of the southern chapel of the Catholic Church of Peter and Paul in Kamianets-Podilskyi.
The creative legacy left by the artist shows that he was a multifaceted person, worked in different genres of art, improving his technique and skills. Therefore, further thorough research of his works of monumental art in religious buildings of Lviv region, solutions to the problems of their preservation and restoration remains relevant.
Keywords: Martin Yablonsky, monumental art, religious painting, wall painting, frescoes, iconostasis, portrait, lithography.
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