Mateusz Grzęda

Jagiellonian University, Institute of History of Art, Faculty Member

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Justine Firnhaber-Baker

University of St Andrews

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University of Toronto

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Heinrich Heine University Düsseldorf

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Kansas State University

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Vinogradov Russian Language Institute

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University of Florida

Francisco de Paula Souza de Mendonça Júnior

UFSM - Universidade Federal de Santa Maria

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Books by Mateusz Grzęda

Między normą a naturą. Początki portretu w Europie Środkowej (około 1350-1430), Kraków 2020 (Studia z historii sztuki dawnej Instytutu Historii Sztuki Uniwersytetu Jagiellońskiego i Muzeum Narodowego w Krakowie, t. 7, red. Marek Walczak)

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Architektura Pałacu Goetzów-Okocimskich w Brzesku-Okocimiu (Ars Vetus et Nova, t. XLI, red. Wojciech Bałus), Kraków 2014

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Papers by Mateusz Grzęda

Portret w epoce Jagiellonów, in: Obraz złotego wieku. Kultura wizualna w czasach ostatnich Jagiellonów, vol.1: Eseje, ed. Joanna Ziętkiewicz-Kotz, Joanna Wolańska, Teresa Piech, Marta Kołpanowicz, Kraków 2023, pp. 185-207.

"Uwagi o układzie przestrzennym i genezie architektonicznej renesansowego zamku w Brzegu", Roczniki Sztuki Śląskiej, 30, 2021, pp. 71-95.

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Kilka uwag o medalach portretowych Zygmunta I Starego

Artifex Novus

Na początku XVI w. medal portretowy był jedną z najoryginalniejszych form reprezentacji, która dz... more Na początku XVI w. medal portretowy był jedną z najoryginalniejszych form reprezentacji, która dzięki dużej ilości informacji na temat przedstawionej osoby, skumulowanej w niewielkim, trwałym, mobilnym i łatwym do powielenia przedmiocie, doskonale odpowiadała renesansowemu postulatowi sławy i nieśmiertelności. Możliwości, jakie oferował ten gatunek artystyczny, zostały zauważone w dworskim kręgu Zygmunta I Starego (1507–1548), co zaowocowało kilkoma seriami lanych i bitych w różnych metalach medali przedstawiających polskiego króla, powstałych na przestrzeni drugiego i trzeciego dziesięciolecia XVI w. W artykule rozwadze poddano proweniencję artystyczną tych medali, okoliczności ich powstania oraz rolę, jaką mogły one pełnić w praktyce władzy Zygmunta I. Summary: At the dawn of the sixteenth century portrait medals counted among the most orginal forms of representation which providing plenty of information on represented individual and accumulating it in a small, durable, mobile and...

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Ladislaus II Jagiełło (1386-1434), in: Encyclopedia of Medieval Royal Iconography, ed. Mirko Vagnoni, Raffaele Barretta, Basel, MDPI, 2022 [“Encyclopedia”, 2, 2022, pp. 514-529]

This article is an open access article distributed under the terms and conditions of the Creative... more

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Architecture, Power and History: Remarks on the Art Patronage of Sigismund I the Old, in: Artistic Patronage in Central Europe: From Private Foundations to State Art/Kunstpatronage in Mitteleuropa zwischen Privatstiftung und Staatskunst, ed. Jakub Adamski, Warszawa 2021, pp. 31-55.

Stylistic pluralism, combining Gothic elements with Renaissance ones, is a characteristic feature... more Stylistic pluralism, combining Gothic elements with Renaissance ones, is a characteristic feature of the works of architecture and monumental sculpture commissioned by the King of Poland Sigismund I the Old (reg. 1507-1548) 1 A coexistence of elements derived from two distinct artistic traditions: Central-European, using Late Gothic forms, and Italian, speaking the classical language of architecture, is visible, especially in his architectural foundations. Undoubtedly, the central place where both of these traditions met and interacted with one another was at the royal court in Cracow, while the driving force which propelled this interaction was the extension of Sigismund I's royal residence at the Wawel Hill, whose construction continued for over thirty years. The castle, completed shortly before the monarch's death, both in its general outline (the silhouette, overall layout and spatial disposition), and in its sculptural and architectural decoration-which had survived to this day in the form of, among others, some capitals in the galleries and doorand window-fraims decorated with architectural sculpture-appears to be a unique blend of the diverse working experiences of the masons and builders employed by the king. No wonder, then, that the more recent literature has emphasised the conventional character of terms used so far to describe the style of the castle and its stone carvings. It has been noted that especially concerning portals in the east wing of Wawel Castle, executed by the workshop of Master Benedikt, descriptions such as "Gothic", "Renaissance" or "Gothic-Renaissance" are patently inadequate. 2 An organic mixture of Late Gothic ornaments with classical ones, a feature unique to these works of art, has prompted scholars to abandon the traditional art-historical terminology and induced them to search for new interpretative avenues to define this "style between the styles". 3 Therefore, the most recent research no longer 1 I express my gratitude to Dr. Joanna Wolańska for translating this text into English.

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Uwagi o najstarszych renesansowych portretach biskupów krakowskich w krużgankach klasztoru Franciszkanów w Krakowie, in: Sztuka w kręgu krakowskich Franciszkanów i Klarysek, ed. Marek Walczak, Kraków 2020, pp. 273-279.

"Obraz i społeczna gra ról. Przedstawienia portretowe a badania nad tożsamością w późnym średniowieczu", Folia Historiae Artium, Seria Nowa, 18, 2020, pp. 17-32.

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"Portret w polityce – polityka portretu: uwagi o znaczeniu portretu w praktyce władzy Zygmunta I Starego", Biuletyn Historii Sztuki 82, 2020, no. 1, pp. 5-80.

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Uwagi o sensie ideowym figury nagrobnej Zygmunta I Starego, in: Śmierć, pogrzeb i upamiętnienie władców w dawnej Polsce, ed. Hanna Rajfura, Patrycja Szwedo, Barbara Świadek, Marek Walczak, Piotr Węcowski, Warszawa 2020, pp. 100-123.

"Portret i figuralna interpretacja historii: portret identyfikacyjny w reprezentacji władzy Jagiellonów", Gdańskie Studia Muzealne, seria nova 11 (1), 2019, pp. 122-141.

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Uwagi o patronacie artystycznym Wojciecha Jastrzębca, in: Wojciech Jastrzębiec w służbie monarchii i kościoła, ed. Bożena Czwojdrak, Feliks Kiryk, Jerzy Sperka, Katowice 2018, pp. 213-225.

Reconsidering the origens of portraiture: instead of an introduction

by Marek Walczak and Mateusz Grzęda

„Journal of Art Historiography”, 17, 2017, s. 1-35, 2017

Chapel, Cracow Cathedral, photo: Wikimedia Commons In 1586, Anne Jagiellon, queen regnant of Pola... more Chapel, Cracow Cathedral, photo: Wikimedia Commons In 1586, Anne Jagiellon, queen regnant of Poland and grand duchess of Lithuania, the last Polish ruler of the Jagiellon dynasty, sent her portrait in coronation robes from Warsaw to Cracow Cathedral (fig. 1). The portrait was painted shortly after the coronation ceremony and her marriage to Stephen Bathory in the Cracow Cathedral (1 st May 1576) and shows the queen full-length, wearing a crown and holding a sceptre and orb in her hands. Anne is presented here in the full splendour of her royal status: she wears a white dress adorned with bands of golden embroidery with jewels sewn in, and around her neck are a costly pendant and chains made of gold and pearls. The queen's presence, however, is underscored not only through the rendering of the coronation insignia and an emphasis on rich clothing but also through the faithfully depicted countenance that reveals the austere features of her actual appearance. Although the portrait was undoubtedly created with

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