Characteristic stylistic and compositional features of the sculpture works of J.G. Pinsel and his students in Lviv

dc.citation.epage45
dc.citation.issue1
dc.citation.journalTitleАрхітектурні дослідження
dc.citation.spage35
dc.contributor.affiliationНаціональний університет «Львівська політехніка»
dc.contributor.affiliationНаціональний університет «Львівська політехніка»
dc.contributor.affiliationLviv Polytechnic National University
dc.contributor.affiliationLviv Polytechnic National University
dc.contributor.authorЧень, Леся
dc.contributor.authorРатушинський, Назар
dc.contributor.authorChen, Lesya
dc.contributor.authorRatushynskyj, Nazar
dc.coverage.placenameЛьвів
dc.coverage.placenameLviv
dc.date.accessioned2025-11-24T12:03:01Z
dc.date.created2025-04-10
dc.date.issued2025-04-10
dc.description.abstractУ XVIII ст. у Західній Україні скульптурні твори відігравали значну роль в оздобленні храмів і житлових споруд, особливо в архітектурі львівських будівель. Стаття була присвячена дослідженню характерних художніх особливостей барокових скульптур Й. Г. Пінзеля та його учнів Ф. Оленського і А. Осинського в оздобленні архітектурних споруд м. Львова. Методологія дослідження полягала у ретельному вивченні та пластичному аналізі унікальних творів мистецтва, які вражають своєю величчю та неповторною красою і були культурним надбанням не лише окремої території, а й усієї України в історичному контексті. У процесі аналізу з’ясовано, що геніальний скульптор Й. Пінзель та його учні Ф. Оленський і А. Осинський створили у м. Львові неповторні шедеври, сповнені гармонії та мистецької довершеності. На основі аналізу скульптурних творів Пінзеля та його учнів визначено особливості їхнього мистецького світогляду у створенні художніх скульптурних творів. Встановлено, що скульптурні твори були насичені пластичною енергією, вираженням динамічного руху, виразними позами, неповторними силуетами, своєрідним геометричним трактуванням драпіровок. Визначено мистецьку цінність львівської сакральної скульптури Й. Г. Пінзеля та його учнів Ф. Оленського і А. Осинського, які є високохудожніми творами і належать до мистецької спадщини України. Ці скульптурні твори стали невід’ємною частиною світової культурної спадщини, що викликає інтерес міжнародної наукової спільноти та зацікавленість туристів. Результати дослідження можуть бути використані в курсі історії українського мистецтва та в навчальному процесі для підготовки студентів мистецтвознавців та архітекторів
dc.description.abstractIn the 18th century in Western Ukraine, sculptural works played a significant role in the decoration of temples and residential buildings, especially in the architecture of Lviv buildings. The article was devoted to examining the characteristic artistic features of the baroque sculptures of J.G. Pinsel and his students F. Olenskyi and A. Osynskyi in the decoration of architectural buildings in Lviv. The research methodology consisted of a thorough study and plastic analysis of unique works of art, which impress with their greatness and unique beauty, and were the cultural heritage not only of a single territory but of the whole of Ukraine in a historical context. In the process of analysis, it was found that the brilliant sculptor J. Pinsel and his students F. Olenskyi and A. Osynskyi created unique masterpieces in Lviv, full of harmony and artistic perfection. Based on the analysis of the sculptural works of Pinsel and his students, the specific features of their artistic worldview in the creation of artistic sculptural works were determined. It had been established that sculptural works were saturated with plastic energy, expression of dynamic movement, expressive poses, unique silhouettes, and a peculiar geometric interpretation of draperies. The artistic value of the Lviv sacred sculptures of J.G. Pinsel and his students F. Olenskyi and A. Osynskyi, which were highly artistic works and belong to the artistic heritage of Ukraine, was determined. These sculptural works were an integral part of the world’s cultural heritage, which arouses the interest of the international scientific community and the interest of tourists. The research results can be used in the history of Ukrainian art and in the educational process to prepare students of art historians and architects
dc.format.extent35-45
dc.format.pages11
dc.identifier.citationChen L. Characteristic stylistic and compositional features of the sculpture works of J.G. Pinsel and his students in Lviv / Lesya Chen, Nazar Ratushynskyj // Architectural Studies. — Lviv : Lviv Politechnic Publishing House, 2025. — Vol 11. — No 1. — P. 35–45.
dc.identifier.citation2015Chen L., Ratushynskyj N. Characteristic stylistic and compositional features of the sculpture works of J.G. Pinsel and his students in Lviv // Architectural Studies, Lviv. 2025. Vol 11. No 1. P. 35–45.
dc.identifier.citationenAPAChen, L., & Ratushynskyj, N. (2025). Characteristic stylistic and compositional features of the sculpture works of J.G. Pinsel and his students in Lviv. Architectural Studies, 11(1), 35-45. Lviv Politechnic Publishing House..
dc.identifier.citationenCHICAGOChen L., Ratushynskyj N. (2025) Characteristic stylistic and compositional features of the sculpture works of J.G. Pinsel and his students in Lviv. Architectural Studies (Lviv), vol. 11, no 1, pp. 35-45.
dc.identifier.doi10.56318/as/1.2025.35
dc.identifier.urihttps://ena.lpnu.ua/handle/ntb/121571
dc.language.isoen
dc.publisherВидавництво Львівської політехніки
dc.publisherLviv Politechnic Publishing House
dc.relation.ispartofАрхітектурні дослідження, 1 (11), 2025
dc.relation.ispartofArchitectural Studies, 1 (11), 2025
dc.relation.references[1] Bahley, L., & Chen, L. (2024). The creativity of Francisk Olenskyi and his sculptural works in the decoration of Lviv buildings. Bulletin of Lviv Polytechnic National University. Series “Architecture”, 6(1), 9-15. doi: 10.23939/sa2024.01.009.
dc.relation.references[2] Bochnak, A. (1931). From the Lviv studio and sculpture in the Rococo era. Krakow: Polish Academy of Arts and Sciences.
dc.relation.references[3] Caroselli, M., Válek, J., Zapletalová, J., Felici, A., Frankeová, D., Kozlovcev, P., Nicoli, G., & Jean, G. (2021). Study of materials and technique of late Baroque stucco decorations: Baldassarre Fontana from Ticino to Czechia. Heritage, 4(3), 1737-1753. doi: 10.3390/heritage4030097.
dc.relation.references[4] Cassar Meli, C. (2022). The Berninesque impact on regional late baroque sculpture in Malta: The stone-carving tradition. (Doctoral dissertation, University of Malta, Msida, Malta).
dc.relation.references[5] Chen, L. (2022). Stylistic, compositional, and artistic features of the expression of sacred works of J. Pinsel in Buchach. International Journal of Conservation Science, 13(3), 921-936.
dc.relation.references[6] Ghembarovych, M. (1968). Sculpture and carving. In History of Ukrainian art (Vol. 3). Kyiv: Naukova dumka.
dc.relation.references[7] Hornung, Z. (1976). Foreman Pinsel the woodcarver. A page from the history of Polish Rococo sculpture. Wroclaw: Wroclaw Scientific Society.
dc.relation.references[8] Kotlobulatov, I. (1908). Interior of St Martin’s Church in Lviv. Retrieved from https://uma.lvivcenter.org/uk/photos/84.
dc.relation.references[9] Krvavych, D. (1991). Lviv Baroque sculpture: Sources of inspiration. In Ukrainian Baroque and European context (pp. 96-105). Kyiv: Naukova Dumka.
dc.relation.references[10] Krvavych, D. (1998). Ukrainian sculpture of the Rococo period. Records of the Shevchenko Scientific Society, 236, 150-152.
dc.relation.references[11] Logvin, G. (1982). Ukraine and Moldova: Guidebook. Moscow: Iskustvo.
dc.relation.references[12] Lylio, M. (2017). Everyday life and professional activities of Lviv sculptors of the second half of the 18th century. Ukrainian Historical Journal, 2, 33-45.
dc.relation.references[13] Mankowski, T. (1937). Lviv Rococo sculpture. Lviv: Society of Lovers of Lviv’s Past.
dc.relation.references[14] Mazur, B. (2020). Ukrainian sculpture and its influence on artistic culture. Scientific Journal “National Academy of Managerial Staff of Culture and Arts Herald”, 2, 110-114. doi: 10.32461/2226-3209.2.2020.220414.
dc.relation.references[15] Ostrowski, J.K. (1996). Jan Jerzy Pinsel – instead of a biography. In Art of the eastern borderlands (pp. 361-373). Krakow.
dc.relation.references[16] Pobozhii, S. (2020). Ukrainian artists in works, biographies, and comments. In Names of Ukraine. 100 artists (pp. 7-24). Sumy: Universytetska Knyha.
dc.relation.references[17] Prybieha, L. (1993). Stone architecture of Ukraine. Kyiv: Budivelnyk.
dc.relation.references[18] Shengera, B. (2019). Lviv sculptors and sculptors of Lviv in the 18th century. Lviv.
dc.relation.references[19] Sheretiuk, R. (2021). Late Baroque sculpture of sacred buildings of the order of Piarists in Volyn. Chronicle of Volyn, 24, 58-62. doi: 10.32782/2305-9389/2021.24.09.
dc.relation.references[20] Sieve, J. (2008). Rococo sculpture from Lviv: Outline of the issues. In Adam Bochnak: Exposure of Lviv sculpture (pp. 69-81). Warsaw: Institute of Art of the Polish Academy of Sciences.
dc.relation.references[21] Stelmakh, O. (2024). Baroque expression in the work of Ioan Georg Pinsel: Mastery of form and dramatic symbolism in Ukrainian art of the 18th century. Retrieved from https://surl.li/xkjcth.
dc.relation.references[22] Stepovyk, D. (1991). The system of tropes in the Ukrainian baroque In Ukrainian Baroque and European context (pp. 183-194). Kyiv: Naukova Dumka.
dc.relation.references[23] Stetsko, V. (2010). A brush through the prism of the museum collection. Independent Cultural Journal “Yi”, 63.
dc.relation.references[24] The celebration of Lviv Day has been postponed until next weekend. (2024). Retrieved from https://zbruc.eu/node/118277.
dc.relation.references[25] Voznytskyi, B. (1995). Fransisk Olensky – Lviv sculptor of the second half of the 18th century: Exhibition catalog. Lviv.
dc.relation.references[26] Voznytskyi, B. (2005). Mykola Potocki, Kaniv starosta and his artists, architect Bernard Meretyn and painter Ioan Georgii Pinzel. Lviv: Centre of Europe.
dc.relation.referencesen[1] Bahley, L., & Chen, L. (2024). The creativity of Francisk Olenskyi and his sculptural works in the decoration of Lviv buildings. Bulletin of Lviv Polytechnic National University. Series "Architecture", 6(1), 9-15. doi: 10.23939/sa2024.01.009.
dc.relation.referencesen[2] Bochnak, A. (1931). From the Lviv studio and sculpture in the Rococo era. Krakow: Polish Academy of Arts and Sciences.
dc.relation.referencesen[3] Caroselli, M., Válek, J., Zapletalová, J., Felici, A., Frankeová, D., Kozlovcev, P., Nicoli, G., & Jean, G. (2021). Study of materials and technique of late Baroque stucco decorations: Baldassarre Fontana from Ticino to Czechia. Heritage, 4(3), 1737-1753. doi: 10.3390/heritage4030097.
dc.relation.referencesen[4] Cassar Meli, C. (2022). The Berninesque impact on regional late baroque sculpture in Malta: The stone-carving tradition. (Doctoral dissertation, University of Malta, Msida, Malta).
dc.relation.referencesen[5] Chen, L. (2022). Stylistic, compositional, and artistic features of the expression of sacred works of J. Pinsel in Buchach. International Journal of Conservation Science, 13(3), 921-936.
dc.relation.referencesen[6] Ghembarovych, M. (1968). Sculpture and carving. In History of Ukrainian art (Vol. 3). Kyiv: Naukova dumka.
dc.relation.referencesen[7] Hornung, Z. (1976). Foreman Pinsel the woodcarver. A page from the history of Polish Rococo sculpture. Wroclaw: Wroclaw Scientific Society.
dc.relation.referencesen[8] Kotlobulatov, I. (1908). Interior of St Martin’s Church in Lviv. Retrieved from https://uma.lvivcenter.org/uk/photos/84.
dc.relation.referencesen[9] Krvavych, D. (1991). Lviv Baroque sculpture: Sources of inspiration. In Ukrainian Baroque and European context (pp. 96-105). Kyiv: Naukova Dumka.
dc.relation.referencesen[10] Krvavych, D. (1998). Ukrainian sculpture of the Rococo period. Records of the Shevchenko Scientific Society, 236, 150-152.
dc.relation.referencesen[11] Logvin, G. (1982). Ukraine and Moldova: Guidebook. Moscow: Iskustvo.
dc.relation.referencesen[12] Lylio, M. (2017). Everyday life and professional activities of Lviv sculptors of the second half of the 18th century. Ukrainian Historical Journal, 2, 33-45.
dc.relation.referencesen[13] Mankowski, T. (1937). Lviv Rococo sculpture. Lviv: Society of Lovers of Lviv’s Past.
dc.relation.referencesen[14] Mazur, B. (2020). Ukrainian sculpture and its influence on artistic culture. Scientific Journal "National Academy of Managerial Staff of Culture and Arts Herald", 2, 110-114. doi: 10.32461/2226-3209.2.2020.220414.
dc.relation.referencesen[15] Ostrowski, J.K. (1996). Jan Jerzy Pinsel – instead of a biography. In Art of the eastern borderlands (pp. 361-373). Krakow.
dc.relation.referencesen[16] Pobozhii, S. (2020). Ukrainian artists in works, biographies, and comments. In Names of Ukraine. 100 artists (pp. 7-24). Sumy: Universytetska Knyha.
dc.relation.referencesen[17] Prybieha, L. (1993). Stone architecture of Ukraine. Kyiv: Budivelnyk.
dc.relation.referencesen[18] Shengera, B. (2019). Lviv sculptors and sculptors of Lviv in the 18th century. Lviv.
dc.relation.referencesen[19] Sheretiuk, R. (2021). Late Baroque sculpture of sacred buildings of the order of Piarists in Volyn. Chronicle of Volyn, 24, 58-62. doi: 10.32782/2305-9389/2021.24.09.
dc.relation.referencesen[20] Sieve, J. (2008). Rococo sculpture from Lviv: Outline of the issues. In Adam Bochnak: Exposure of Lviv sculpture (pp. 69-81). Warsaw: Institute of Art of the Polish Academy of Sciences.
dc.relation.referencesen[21] Stelmakh, O. (2024). Baroque expression in the work of Ioan Georg Pinsel: Mastery of form and dramatic symbolism in Ukrainian art of the 18th century. Retrieved from https://surl.li/xkjcth.
dc.relation.referencesen[22] Stepovyk, D. (1991). The system of tropes in the Ukrainian baroque In Ukrainian Baroque and European context (pp. 183-194). Kyiv: Naukova Dumka.
dc.relation.referencesen[23] Stetsko, V. (2010). A brush through the prism of the museum collection. Independent Cultural Journal "Yi", 63.
dc.relation.referencesen[24] The celebration of Lviv Day has been postponed until next weekend. (2024). Retrieved from https://zbruc.eu/node/118277.
dc.relation.referencesen[25] Voznytskyi, B. (1995). Fransisk Olensky – Lviv sculptor of the second half of the 18th century: Exhibition catalog. Lviv.
dc.relation.referencesen[26] Voznytskyi, B. (2005). Mykola Potocki, Kaniv starosta and his artists, architect Bernard Meretyn and painter Ioan Georgii Pinzel. Lviv: Centre of Europe.
dc.relation.urihttps://uma.lvivcenter.org/uk/photos/84
dc.relation.urihttps://surl.li/xkjcth
dc.relation.urihttps://zbruc.eu/node/118277
dc.rights.holder© Національний університет „Львівська політехніка“, 2025
dc.subjectвидатний скульптор
dc.subjectучні-різьбярі
dc.subjectвівтар
dc.subjectструктура статуї
dc.subjectфігура
dc.subjectпластичне вирішення
dc.subjectprominent sculptor
dc.subjectcarvers apprentices
dc.subjectaltar
dc.subjectstructure of a statue
dc.subjectfigure
dc.subjectplastic solution
dc.subject.udc73.03
dc.titleCharacteristic stylistic and compositional features of the sculpture works of J.G. Pinsel and his students in Lviv
dc.title.alternativeХарактерні стилістичні та композиційні особливості скульптурних творів Й. Г. Пінзеля та його учнів у м. Львові
dc.typeArticle

Files

Original bundle

Now showing 1 - 1 of 1
Loading...
Thumbnail Image
Name:
2025v11n1_Chen_L-Characteristic_stylistic_and_35-45.pdf
Size:
2.57 MB
Format:
Adobe Portable Document Format

License bundle

Now showing 1 - 1 of 1
Loading...
Thumbnail Image
Name:
license.txt
Size:
1.8 KB
Format:
Plain Text
Description: