03 — ARTWORK
General view
- MEDIUM
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- TYPE
- Other
PALETTE
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COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The foundation of town of Kazimierz Dolny is attributed to King Wladyslaw I the Short's son, King Kazimierz III the Great, who granted the town rights in the first half of the 14th century. Later, King Wladyslaw II Jagiello modernized Kazimierz Dolny, creating a modern town, with a market square and streets. It enjoyed its greatest prosperity in the 16th and the first half of the 17th century, due to the trade in grain conducted along the Vistula.
The parish church of Sts. Bartholomew and John the Baptist is a church with a single navethe main interior space of a church building. It may have parallel aisles on each side, often separated from it by pillars, and is intersected by the transept, which cuts across it at the point where the choir begins. and elongated chancelinterchangeable with choir, sometimes the area in front of the altar.. Its interior and exterior proportions are entirely GothicGothic, which may well have originated with Alberti as a derogatory term and which certainly corresponds to Vasari's 'maniera tedesca' ('German style'), is properly the descriptive term for an artistic style which achieved its first full flowering in the Ile de France and the surrounding areas in the period between c. 1200 and c. 1270, and which then spread throughout northern Europe. It is characterized by the hitherto unprecedented integration of the arts of sculpture, painting, stained glass and architecture which is epitomized in the great cathedrals of Chartres, Amiens, and Reims or in the Sainte Chapelle in Paris. In all the arts the predominantly planar forms of the Romanesque are replaced by an emphasis on line. There is a transcendental quality, whether in the soaring forms of the pointed arches or in the new stress on the humanity of Christ, which similarly distinguishes it from the preceding Romanesque style. In thinking of Nicola (d. c. 1284) or Giovanni Pisano (d. after 1314) there is same danger of forgetting what had happened in French sculpture half a century or more earlier, and likewise it is hard to remember that the spectacular achievements of early Renaissance art are a singularly localized eddy in the continuing stream of late gothic European art. By northern European standards few Italian works of art can be called gothic without qualification, and the story of 13th and 14th century Italian architecture is as much one of resistance to the new style as of its reception, whether directly from France or through German or central European intermediaries. In sculpture and in painting, the Italian reluctance to distort the human figure, conditioned by a never wholly submerged awareness of the omnipresent antique heritage, gives a special quality to the work of even those artists such as Giovanni Pisano or Simone Martini who most closely approached a pure gothic style. Nevertheless, the vitalizing role of Northern gothic art throughout the early Renaissance and the period leading up to it should never be underestimated. The artistic, like the cultural and commercial, interaction was continuous and much of the Italian achievement is incomprehensible if seen in isolation. It is not merely at the level of direct exchanges between one artist and another, or the influence of one building; painting, manuscript or piece of sculpture upon another, that the effects are to be felt. The streaming quality of line which is so characteristic of Brunelleschi's early Renaissance architecture surely reflects a sensitivity to the gothic contribution which is entirely independent of, and lies much deeper than, the superficial particularities of form. The counterflow of influence and inspiration from South to North must likewise not be underrated. In particular, the contribution of Italian painters from Duccio and Simone Martini onwards is central to the evolution of the so-called International Gothic style developing in Burgundy, Bohemia and north Italy in the late 14th and early 15th centuries., but the details are Renaissance. The merging of Gothic and Renaissance elements results in a special national style. The interior decoration is attributed to a workshop in Lublin under Italian direction.
View the <a href="#" onClick="w=window.open ('/support/plans/zzzarchi/16c/6/kazimierz.html', 'newWin', 'scrollbars=yes,status=no,dependent=yes,screenX=0,screenY=0,width=400,height=600');w.opener=this;w.focus();return false">ground plan</a> of the church.
OTHER WORKS BY POLISH ARCHITECT
CITE THIS RECORD — BIBTEX
@online{wga-r1996776d0a3ed2,
author = {Krén, Emil and Marx, Daniel},
title = {General view by ARCHITECT, Polish},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/architect-polish-r413a0945f31637/general-view-r1996776d0a3ed2},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.