{"id":2190,"date":"2026-04-21T11:32:33","date_gmt":"2026-04-21T08:32:33","guid":{"rendered":"https:\/\/www.arthistorystudies.lt\/?page_id=2190"},"modified":"2026-04-21T11:39:50","modified_gmt":"2026-04-21T08:39:50","slug":"svc-mergeles-marijos-auklejimo-ikonografija-lietuvoje-xviii-xix-a-nuo-europos-grafikos-pavyzdziu-iki-kopiju-the-iconography-of-the-education-of-the-blessed-virgin-mary-i","status":"publish","type":"page","link":"https:\/\/www.arthistorystudies.lt\/en\/archyvas\/turinys-t-18\/svc-mergeles-marijos-auklejimo-ikonografija-lietuvoje-xviii-xix-a-nuo-europos-grafikos-pavyzdziu-iki-kopiju-the-iconography-of-the-education-of-the-blessed-virgin-mary-i\/","title":{"rendered":"\u201e\u0160v\u010d. Mergel\u0117s Marijos aukl\u0117jimo\u201c ikonografija Lietuvoje XVIII\u2013XIX a.: nuo Europos grafikos pavyzd\u017ei\u0173 iki kopij\u0173 \/ The Iconography of the Education of the Blessed Virgin Mary in Lithuania in the Eighteenth and Nineteenth Centuries: From European Graphic Examples to Derivations (Summary)"},"content":{"rendered":"

Lijana Bir\u0161kyt\u0117-Klimien\u0117 (PDF)<\/strong><\/a>
\nhttps:\/\/doi.org\/10.53631\/MIS\/2025.18.2<\/a><\/p>\n

The deriving and copying of graphic examples are characteristic features of Lithuanian sacred art. The author investigates the relatively underexplored phenomenon of religious image derivation, focusing on original images that are not miraculous but rather ordinary works of European art. The research analyses the iconographic type of the Education of the Blessed Virgin Mary, which gained popularity in Lithuania during the second half of the eighteenth and throughout the nineteenth century. Various examples of this theme were examined in Lithuanian churches, museums, private collections and art history publications. The article attributes these representations through formal and comparative stylistic analysis, while employing iconographic and, to some extent, iconological methods to uncover their contexts.<\/p>\n

Derivations based on two main prototypes of European graphic art with distinct content emerged and spread in Lithuania during the second half of the eighteenth and throughout the nineteenth century. The first prototype is engravings based on Peter Paul Rubens\u2019 painting , The Education of the Virgin (1625\u20131626), located in the Chapel of St Anne of the Discalced Carmelites in Antwerp. The engravings symbolise the Incarnation of Christ. The second prototype is an engraving by Wagner, created in Venice between the 1720s and 1750s, inspired by an artwork of Jacopo Amigoni. This work is closely related to the educational themes characteristic of the Enlightenment. In Lithuania, both prototypes feature slight modifications to the original plots, omitting certain attributes and minor details, as well as changes to the background. As a result, in most cases, they cannot be classified as copies in the modern sense. Notably, in Wagner\u2019s engravings, the details of the saints\u2019 clothing are altered to reflect more fashionable styles of the nineteenth century. This modernisation makes it easier for viewers to identify with the educational examples presented in the images.<\/p>\n

One of the earliest derivations of Rubens\u2019 prototype in Lithuania is the altarpiece of the Church of the Assumption of the Blessed Virgin Mary in Pinsk, which belonged to the Franciscans, and was created in the second half of the eighteenth century. Like other derivations from the eighteenth and nineteenth centuries, it utilises a mirror composition derived from engravings. The second half of the nineteenth century witnessed a surge in the copying of Rubens\u2019 painting, The Education of the Virgin, engravings in the Diocese of Samogitia. This phenomenon was never repeated afterwards. The long-term spread of this prototype in Lithuania can be attributed to its popularity abroad, especially within Polish art, as well as the synergy with the themes of the Enlightenment and Romanticism and the rising cult of the Blessed Virgin Mary in society.<\/p>\n

The earliest and almost simultaneous derivation of J. Wagner\u2019s engraving based on J. Amigoni\u2019s artwork is the altar painting The Education of the Virgin, located in the Church of St Raphael the Archangel in Vilnius. This painting was acquired by the Jesuits in the third quarter of the eighteenth century, prior to 1773. An interesting instance of its dissemination reveals the efforts of local clerg y to popularise this image. The derivation from the Church of St Raphael the Archangel in Vilnius became the prototype for local devotional artworks, including a lithograph created by J\u00f3zef Jerzy Oz\u0119b\u0142owski in Vilnius during the 1830s to 1870s, and a steel engraving by Fran\u00e7ois Audibran in Paris in the second half of the nineteenth century, which was based on a drawing by Hippolyte Louis \u00c9mile Pauquet. The latter painting , which significantly differed in form from the prototype, inspired several examples of easel painting in the parish churches of Nedzing\u0117 and Raud\u0117nai. This case of dissemination illustrates how these works unrecognisably deviated not only from the earliest artworks of Amigoni but also from the secondary works, such as the prototype of the painting of St Anne in the Church of St Raphael the Archangel in Vilnius. Therefore, when considering the originality of Lithuanian sacred art in the nineteenth century, it is essential to understand the complicated relationship between the prototypes and their derivations.<\/p>\n

Keywords:<\/strong> St Anne, The Education of the Virgin, iconography, Church art, Lithuanian art of the eighteenth and nineteenth centuries, graphics, derivations, Jacopo Amigoni, Fran\u00e7ois Adolphe Bruneau Audibran, Schelte Adamsz Bolswert, J\u00f3zef Oz\u0119b\u0142owski, Hippolyte Louis \u00c9mile Pauquet, Peter Paul Rubens, Joseph Wagner<\/p>","protected":false},"excerpt":{"rendered":"

Lijana Bir\u0161kyt\u0117-Klimien\u0117 (PDF) https:\/\/doi.org\/10.53631\/MIS\/2025.18.2 The deriving and copying of graphic examples are characteristic features of Lithuanian sacred art. The author investigates the relatively underexplored phenomenon of religious image derivation, focusing on original images that are not miraculous but rather ordinary works of European art. The research analyses the iconographic type of the Education of the[…]<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":2182,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2190","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/2190","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/comments?post=2190"}],"version-history":[{"count":1,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/2190\/revisions"}],"predecessor-version":[{"id":2192,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/2190\/revisions\/2192"}],"up":[{"embeddable":true,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/2182"}],"wp:attachment":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/media?parent=2190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}