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Wpływ rycin z kręgu P. P. Rubensa na potrydencką ikonografię Ostatniej Wieczerzy w Polsce
Dziubecki, Tomasz (Akademia Teologii Katolickiej w Warszawie, 1989)
The Trident Council made the artists to renew the power of communication of the holy images, especially those representing the stories from the Bible. As Kenneth Clark has noticed the theological ideas for which the night picture have been found, were received by the faithful quicker and deeper. This essay presents a process and the factors which were leading to a creation of the representation in art of Christ’s Last Supper. It is a truism that any knowledge of the iconography of the XVII c. Polish painting should be started on researching the graphic works. A certain way of composing the iconography of Last Supper has been examined in a group of anonymous printings, at present in a possesion of the Printing Cabinet of the Warsaw University Library. The group consists of printings cut in XIX c. of theological and prayer books that had been published during XVII and XVIII centuries. Most of them represent the Last Supper after the picture of Rubens in 1620 for Saint Romuald church in Matones, Belgium, now at the Brera Gallery in Milano. The composition of Rubens picture reflects the Last Supper painted in 1591 by Ludovico di Caroli, called II Cigoli, whom Rubens met in Firenze during the visit in Italy in 1600-1608. The picture of Rubens has been popularized by a print of Boetius à Bolswert. The composition of that print differs from painting only in details. All the compositions, both oil pictures and graphics, were made 'after print of Bolswert. The above mentioned printings are more or less exact patterns of the Rubens compositions, petrificationdng its certain parts, what constituted a constant set of forms, which can be traced in a few baroque pictures in Poland. This is symptomatic which parts constitutioning the iconography were of interest for the authors. The printings do not repeat the details of the architectural back ground created by Rubens. In most of them the background consists of two empty niches and two Tuscan columns. The upper part of that background is covered by a curtain, larger than on Bolswert print. Characteristic detail of the composition is oil lamp represented neither by Rubens nor by Bolswert. Such a lamp can he seen on the Abraham van Diepenbeeck (1996-1675) print made in 1650 for the following edition of Missale Romanum, by Planting editions in Antwerp. Representing the simpler background, the authors avoided the difficult art of designing the architecture and were able to focussed the spectator’s attention on the main dramatis personae of the Last Supper. Those authors made Jesus and Judas the main figures of the Last Supper.. The two were always represented in the same design. Even every detail of their alothing was the exact copy of the origin The gestures of Jesus, who is praying over a loaf of bread and a chalice of wine, what stylizes the Eucharistic iconography of the Last Super, and of Judas, who is turning back from Christ and other Apostles concetrated on the mystery, and looking straight towards the spectator, are represented with a symptomatic consequence. The figures of other Apostles the authors designed freely, without closer relation to the origin. This consequence in representing the figures of Jesus and Judas and lack of such a consequence in representing other figures, together with the sparing design of the background leads to the conclusion that the authors of those graphics, acting in the artistic atmosphere of the epoch, were to show the basic theological ideas of Last Supper. The composition of Rubens – spreaded by the print of Boetius à Boiswert – had been modificated according to abilities of the local artists and according to the requirements of the ministration. The described process of vitalizaition by simplification is an example of a very baroque trend to intensification of the biblical imagery through record ing the basic elements of which it constituted. That process facilitated the reception of the ideas. The authors of the mentioned representations in Poland – using the Flemish iconography – wanted to indi cate the roles of Jesus and Judas as the main persons of the dramatic events during Last Supper, when the Eucharistic Sacrament of Love and its betrayal took place.