Name Johann Pinsel | Role Biographer | |
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Johann Georg Pinsel - Un sculpteur baroque en Ukraine au XVIIIe siècle
Johann Georg Pinsel (Polish: Jan Jerzy Pinzel, Ukrainian: Іvan Georgіi Pіnzel'; b. 1715-1725, d. 1761 or early 1762) was a late Baroque sculptor of German or Czech origin active in the eastern territories of the Polish Kingdom (now Ukraine) in the second half of the 18th century. He was named like Halych's Michelangelo
Contents
- Johann Georg Pinsel Un sculpteur baroque en Ukraine au XVIIIe sicle
- Johann georg pinsel un sculpteur baroque en ukraine au xviiie si cle
- List of some Works
- References
Biographical details about him are scarce. He was discovered by J. Boloz Antoniewicz and appeared in scholarly literature in 1923 in the monograph of Wladyslaw Zyla "Kosciol i klasztor Dominikanow we Lwowie" ("Dominican church and monastery in Lwow/Lviv"). His first and second name, some information about his family and approximate date of death were only established in 1993, with the discovery of registers of the Buchach Roman Catholic parish. The place and exact date of his birth remain unknown.
Pinsel came to Eastern Halychyna (Galicia) (then Poland) most probably around 1750 and became court artist to Mikolaj Bazyli Potocki. He settled in Buchach and in 1751 married Marianna Majewska, with whom he had two sons: Bernard and Antoni. He closely collaborated with the renowned architect Bernard Meretyn His student was Maciej Polejowski.
Pinsel's works include sculptures and decorations of the Buchach townhall (1750s), the Roman Catholic Trinitarian church (1756-1757) and the Greek Catholic St. George's Cathedral in Lviv, (1759-1761), interiors of the Roman Catholic churches in: Monastyryska (1761), Horodenka (1752-1755) and Hodovytsia (1757-1758), sculptures in the Roman Catholic parish church in Budaniv. His only work that survived intact, in its original spatial arrangement, is the facade of the St. George's Cathedral. His sculptural complexes in the Roman Catholic Churches in Horodenka and Monastyryska were almost completely destroyed between 1939 and 1989. The figures of the high altar in Hodovytsia have been saved thanks to efforts of the staff of the Lviv Art Gallery.
