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The destruction of Warsaw was practically unparalleled in the Second World War, with it being noted that "Perhaps no city suffered more than Warsaw during World War II", with historian Alexandra Richie stating that "The destruction of Warsaw was unique even in the terrible history of the Second World War". [1]
The church and monastery suffered primarily in 1939 during the defense of Warsaw and in 1944, during the Warsaw Uprising including damage to the sculptures and painted decorations, roof and imagery. From 1951 to 1954 it was maintained by art conservator Bohdan Marconi, and thorough restoration work was performed between 1985 and 1994.
July – Dulwich Picture Gallery in London is substantially damaged by a V-1 flying bomb; half a dozen paintings are destroyed, but most have been evacuated to Aberystwyth. Autumn – Peggy Guggenheim 's The Art of This Century gallery on Manhattan releases a 78 rpm 3-record album containing Paul Bowles ' Sonata for Flute and Piano and Two ...
Remains of the Holy Cross Church in 1945. During the 1944 Warsaw Uprising, the church was severely damaged.On 6 September 1944, when the Germans detonated two large Goliath tracked mines in the church (they usually carried 75–100 kg of high explosives) the facade was destroyed, together with many Baroque furnishings, the vaulting, the high altar, and side altars. [2]
Adam Kossowski (5 December 1905 – 31 March 1986) was a Polish artist, born in Nowy Sącz, notable for his works for the Catholic Church in England, where he arrived in 1943 [1] as a refugee from Soviet labour camps and was invited in 1944 to join the Guild of Catholic Artists and Craftsmen.
The first painting was made by Eugeniusz Kazimirowski, under the supervision of Kowalska and her confessor, Sopoćko, in Vilnius. Sopocko was a professor of theology at the University of Vilnius and introduced Kowalska to Kazimirowski, who was a professor of art there and had painted other religious images. Kowalska gave Kazimirowski specific ...
The first Warsaw baroque church with a simple facade, it has a nave, a rectangular interior and two side chapels. The porch has a separated lattice (from the 18th century), and the side altars have images of St. Francis and St. Anthony of Padua, painted by Rafał Hadziewicz, and an image of Christ on the Cross painted by Annibale Vinici.
A History of Ideas and Images in Italian Art, 1983, John Murray, London, ISBN 0-7195-3971-4; Hellemo, Geir. Adventus Domini: eschatological thought in 4th-century apses and catecheses. Brill; 1989. ISBN 978-90-04-08836-8. Schiller, Gertrud. Iconography of Christian Art, Vol. I, 1971 (English trans from German), Lund Humphries, London, ISBN 0 ...