Piotr_Tomicki

Stanisław Samostrzelnik , Mogiła, Poland

Stanisław Samostrzelnik ,,,

Stanisław Samostrzelnik (Stanisław z Krakowa, Stanisław z Mogiły, c. 1490–1541) was a Polish Renaissance painter, painter.

Piotr_Tomicki

 Stanisław Samostrzelnik – overview :

Stanislaw_Samostrzelnik_-Crucifixion

decorator and monastic monk from Kraków, Poland. He was the primary Polish painter acknowledged by name WHO painted within the Renaissance vogue.There area unit several frescos by him within the churches of southern Republic of Poland. the foremost distinguished are often seen within the monastic religious residence in Mogiła. he’s additionally recognized for his portrait of Bishop Piotr Tomicki within the portraits gallery of the St. Francis of Assisi’s Church of Kraków.

The main works by Stanisław Samostrzelnik :

Modlitewnik_Zygmunta_Starego

The main works by Stanisław Samostrzelnik embody illuminations of 4 prayer books: Hours of King Sigismund I the previous (1524, London, British Library), Hours of Queen Bona Sforza (1527, Oxford, Bodleian Library), Krzysztof Szydłowiecki Prayer Book (1527, currently divided between the Archivio Storico Civico and also the Biblioteca Ambrosiana in Milan) and Vaitiekus Goštautas Prayer Book (1528, Munich, Universitätsbibliothek), beside miniatures of Liber genesos illustris Familiae Shidlovicae (1531–1532, Kórnik, Library of the Polish Academy of Sciences), Catalogus archiepiscoporum Gnesnensium (1530–1535, Warsaw, National Library) and also the Gospel of Piotr Tomicki (1534, Kraków, Metropolitan Chapter Archives).A characteristic feature of Samostrzelnik’s miniatures is live, usually contrastive color and Renaissance vogue relating the Gothic tradition. From around 1520 inspirations of German masters (Albrecht Altdorfer, Lucas Cranach the Elder and Albrecht Dürer) of the time area unit evident in his works further because the influence of the Danube college, nonheritable throughout his keep in national capital wherever he went in 1515 as Szydlowiecki’s man of the cloth.[2] additionally to the Danube college influences, the Dutch patterns and indirect connections with the Italian painting (ornamental and heraldic motifs, nonheritable throughout his keep in European country in 1514)are visible in his work. Samostrzelnik’s ornamental paintings mix figurative scene and ornament. All the figures aren’t subjected to excessive idealization and characterized terribly on an individual basis, sometimes wearing modern garments and keep with the artist’s tendency to portrait realism.