Jan Henryk Rosen

Jan Henryk Rosen

Rose's signature

Jan Henryk Rosen (later also John H. de Rosen) (born February 25, 1891 in Warsaw , Russian Empire ; † August 22, 1982 in Arlington , Virginia ) was a Polish painter whose work mainly includes large-scale sacred wall designs and mosaics, as well as the design of church windows and works on canvas. From 1938 he lived and worked in the United States.

Life

Jan Henryk Rosen was born into a Warsaw family of artists. His father, Jan Bogumil Rosen , was a well-known battle painter who also worked for the Russian Emperor Alexander III. and his successor Nicholas II. carried out commissioned work. His mother, Wanda Handke, came from a family of industrialists and was a trained mezzo-soprano . In soirees , she cultivated a cosmopolitan atmosphere shaped by the Warsaw cultural elite, including Arthur Rubinstein . The mood at that time was shaped by the failed January uprising of 1863/64 by the Poles against the Russian partitioning power, which was followed by decades of repressive and compulsorily integrative policies , which resulted in a strengthening of Polish nationalism , especially with the help of the Catholic Church.

In 1895 the family moved to Paris, where Jan Henryk spent the first years of his life and received his father's instruction in drawing and painting at an early age. He later moved to Montreux (Switzerland) with his mother and sisters Maria (1895–?) And Zofia (1897–1975), but they often accompanied their father on his travels to the art metropolises of Europe. Jan Henryk converted to Catholicism at the age of 10 in 1903, although his parents were Protestants with Jewish ancestry. In 1906 he attended St. Michael's College in Friborg (Switzerland) for eight months and then finished his school education in Lausanne. At the local university, Rosen began his studies in the humanities faculty in 1910, from 1911 he attended lectures on modern art with Hugo von Tschudi in Munich and familiarized himself with the cultural offerings there. At the Sorbonne in Paris, he finally began to study art history until 1914 with Émile Mâle (1862–1954), who, as an authority on medieval iconography , is likely to have influenced Rosen's future artistic work. He also took lessons in mosaic technique in the Luc-Olivier Mersons studio in Paris.

Pope Innocent XI. prays for God's help in the battle against the Ottoman army

The outbreak of the First World War in 1914 interrupted his art education. Rosen fought on the side of the French in the 11th Cavalry Regiment and took part in battles in Ypres and on the Somme . He campaigned for the cooperation of the Polish army with the French and worked as a military attaché for the Polish government. He was friends with Ignacy Jan Paderewski , the pianist, composer and short-term Prime Minister of the Second Polish Republic , with whom he was active in 1919 in Geneva and Versailles as a military advisor and delegate at the conferences between the English and French. He received high military awards from Poland, France and Great Britain for his commitment.

After the war he returned to study at the City School of Applied Arts in Warsaw and at the same time worked in the Foreign Office. In 1923 he ended this activity in order to devote himself entirely to painting. At an exhibition in 1925, to which Archbishop Teodorowicz Teodorowicz was one of the visitors, he presented the works he had created over the past two years. The bishop, who belonged to the Armenian Archeparchy of Lviv , was impressed by Rosen's work and offered to decorate the rooms of the Armenian cathedral in Lviv . The painting of the church and the design of the six leaded-glass windows claimed the painter from 1925 to 1929, all but one mural were made using the secco technique with tempera , a working method that he had only recently learned from a Swiss painter in Lausanne. In a window niche is a wooden, silver-plated figure of Christ of Rosen's sister Zofia. The mosaics of the church were made by Józef Mehoffer .

After some further work in Poland, Austria and for the private apartments of Pope Pius XI. in Castel Gandolfo (Italy), he decided to decorate the ballroom of the embassy with a wall decoration after an invitation from the Polish ambassador of the USA, in 1937 for immigration to the United States. There he created numerous works across the country.

The art of Jan Henryk Rosen

Rosen's art was primarily committed to the design of church interiors. In connection with his father's inheritance, he can be understood as a “sacred history painter”. In his essay on the iconography of the "National Shrine of the Immaculate Conception" he quoted the historian Louis Bréhier : "Religious iconography can be considered as a subsidiary science of Art History."

Chapel of St. Joseph of Arimathea: Entombment of Christ, National Cathedral of Sts. Peter & Paul, Washington, DC

In fact, like his father, Rosen, especially in his early works, depicted national or religious-national themes, such as the Battle of Kahlenberg . A motif that was also the subject of his first commissioned work in the USA. In his otherwise sacred wall designs, he takes up, beyond the biblical canon, motifs from the history of Catholic and Anglican Christianity and portrays their charismatic personalities.

In terms of style, Rosen refers to a traditional imagery of the Old Masters from the sacred art of the Gothic and Renaissance periods, but also to Byzantine models and icon painting . For example, he often uses the cross nimbus in his depictions of Christ and adds text and name additions as well as symbols to the image space. The gold ground in which he places his respective scenes often serves as a stage-like illusionary space . He uses the gold partly as a “canopy”, but also as a background throughout, with the landscape and surroundings of the respective scene in the style of a red chalk drawing forming the frame in which the colored figures are set. Drawing on a golden background is a continuous motif in Rosen's oeuvre and acts as an auratizing and sacralizing pictorial element, but at the same time he also achieves an ornamental, material-related aestheticization.

Many of his designed blackboards are made using the Secco painting technique . As a particularly permanent form of wall painting, encaustic offers the advantage of a refined texture and liveliness of the depicted. In this process, colored powder is added to melted beeswax and applied to the substrate or the gold ground while it is still heated.

In his representations, roses mostly remain in the traditional programmatic coloring, consequently the colors red (Christ etc.), blue (Mary etc.), white / silver (holiness etc.) and the already mentioned gold dominate in his compositions . He also uses all the colors to design the sky.

Mosaic of Christ Pantocrator (Christ Pantocrator, National Shrine of the Immaculate Conception, Washington, DC)

His work is therefore inconceivable without reference to historical models. In addition to his portrayal of the Christ Pantocrator, he gives a brief outline of the emergence and change of the Pantocrator image since the 11th century in Western Europe: “ He is majestic, but He is shown seated, in his full body, younger and more compassionate, He wears a scarlet cloak, but the chest is bare and His wound in the side is clearly visible. His face is radiant. ”

He himself protested against the idea of ​​the church as a museum location or field of experimentation, as well as against the zeitgeist of a “new iconoclasm ”. In Rosen's opinion, the path of credibly designed sacred art is as follows: “ The safe road to follow will always be simplicity and honesty. Honesty of material used and simplicity of shape. Avoid poor imitations. Ugliness and cheapness are ageless. We have to rely on our good sense and the lessons of the past ... "

With this in mind, Rosen, in the sense of Beato Angelico , can be described as a devout painter who saw his work in the strictest sense as a vocation. The content of his works had to exemplify the teaching and tradition of the Catholic Church in terms of their importance. His inspiration from medieval sources is therefore consistent, as they predate the Reformation and Enlightenment, which opened up other alternatives for an interpretation of the world.

It is therefore hardly surprising that in many neo-Gothic churches in North America a style inspired by medieval iconography was sought, which was to build a bridge to the sacred art of Europe and to the "origins".

Imagery

Institution of the Eucharist, Armenian Cathedral, Lviv

Rosen found his form of artistic image design early on. In the design of the Armenian Church in Lviv, the style that will shape his future work has already been established. What is striking is the similarity with the visual language of Art Nouveau . However, if one looks at the above quotation in which he recurs on the “simplicity of form” and the “lessons of the past”, the reference to this artistic epoch is quite plausible. While this pan-European phenomenon appeared under different names and expressions in the transition to the 20th century, it had two essential motifs. On the one hand the recourse to a mythical image of the Middle Ages and its fairy tales and legends. In addition, there was a show of anti-modernism that longed for a pre-industrial era committed to the craft. The other motif was the language of gestures and expressive gestures, with which one tried to give expression to "the soul" as a shibboleth of the zeitgeist, which was supposed to symbolize the longing for the individualized self to merge into the infinity of an "all-nature" . This should be achieved artistically by means of the design element of the line or contour and the resulting flatness of the represented figure or object. A kind of stylization, patheticization or heroization , which the silent film of the time, in which Rosen undertook to paint the Armenian church, and so, for example, Fritz Lang's expressionist films (“Der müde Tod”, “Die Nibelungen”), are still standing in the aftermath of the fading era of Art Nouveau.

Burial of St. Odilo, Armenian Cathedral, Lviv

Self-portrait (detail) in the mural "Burial of St. Odilo"

The interior of the church he designed (1925–1929) combines both of the above elements. First, it creates a certain character of medieval imagery and even distribution of the individual murals in its scenic division of the woodcut prints on the sides of the arms Bible remember (Biblia pauperna). In addition, however, he even reproduces specific details from the so-called Bamberg Apocalypse - an illuminated manuscript from the 11th century. The miniatures used are barely visible in a large-format mural on the north side of the church, on which he depicts the burial of Odilo von Cluny . They appear as a kind of "figurative embroidery or painting on the richly decorated wall hangings" in the background of the painted scene. In its composition and appearance, the group of figures depicting the corpse of St. Odilio also bears an astonishing resemblance to the tomb of Philippe Pot from the end of the 15th century , a group of limestone sculptures exhibited in the Louvre, Paris.

In the foreground, three outlines can be seen in the picture, which are sketched offset to the three carriers of the corpse of St. Odilo. With these figurative “soul shadows”, Rosen refers to the All Souls Day founded by Odilo and brings out its allegorical essence by designing the “line” or “surface” by making himself subservient to an art as a form principle that, although monistic and anti-metaphysical , in whom the transfigured person sees their ideal, which is devoid of all physicality and is only soul or astral body . ( R. Steiner )

If the silhouette-like composition is paramount here, the Art Nouveau typical, partly contoured, flatly reduced ductus applies - albeit not to this extent - to the entire work of Rosen. Many of his designs therefore have a decorative element that is illustrative in their composition. The reduction of the spatial-physical perspective causes the figures to appear like impressions in which the aesthetics of an ornament is inherent. The apparently superhuman and theatrical attitude of his figures then finds the reference back to the individual when he uses portraits of real people, mostly members of the parish for whom he worked, as likenesses of his figures.

In addition, Rosen seems to have received inspiration for his art at the beginning of his work, also from the Art Nouveau art movement of symbolism . In a mural on the south wall of the church opposite Odilo, Rosen for the depiction of the severed head of John the Baptist achieved an effect similar to that shown by Gustave Moreau in his painting The Apparition of 1875.

While in Art Nouveau mermaids, nymphs and other semi-creatures were the objects of representation and mediators of a godless, animistic doctrine of nature, according to traditional eschatology , Rosen equips his tableaus with saints, angelic beings and the Savior. Whereas in Art Nouveau the topographical positioning of redemption or dissolution was appropriated to the hidden, unconscious ( S. Freud ) or to the vegetable and aquatic ( E. Haeckel ), Rosen can design an upward-striving look according to the Christian program. His firmament, which is often adorned with clouds and constellations, is inscribed with the certainty of the kingdom of heaven without any doubt.

Works (selection)

Rosen's works in Europe:

• Untitled, Switzerland
• Stoning of St. Stephen

Armenian Cathedral , Lviv , Ukraine :

• Apse: institution of the Eucharist
• Transept (south wall): Crucifixion
• Transept (north wall): Adoration of the Shepherds
• Transept window: St. Paul u. St. Augustine
• Choir Arch (West): Allegories of the Five Senses , Allegories of the Seven Gifts of the Holy Spirit ; Choir arch (east): cherubim

South wall (view from the apse into the church):

Glorification of the beheaded John, Armenian Cathedral, Lviv (detail)

• First segment: Glorification of John the Baptist , lumberjack with ax / dancing children, angels in adoration ( Last Judgment ), angels fight the brood of snakes
• Central nave window I: Scenes from the life of John the Baptist
• Second segment: The Annunciation , the apparition of Elijah in the chariot and Mary with the baby Jesus, Erythraean and Libyan Sibyls
• Center nave window II: Root Jesse
• Third segment: Abraham's sacrifice
• Central nave window III: Pre-Christian mysteries

North wall (view from the apse into the church):

• First segment: St. Blaise, St. Dionysius, St. Pantaleon, St. Agatius, St. Cyriacus, St. Margareta, St. Barbara, St. Eustachius, St. Vitus and St. Erasmus (10 helpers ) In front of it in window oak: Silver plated statue of Christ the Good Shepherd of Roses Sister Zofia.
• Second segment: Burial of St. Odilon / St. Egidius, St. George, St. Christophorus with baby Jesus (3 helpers)
• Central nave window II: Scenes from the story of the Armenians in Lviv
• Third segment: Angels carry the body of St. Catherine of Alexandria to Mount Sinai (helper in need)

Armenian Theological Seminary, Lviv, Ukraine:

• Last mass of St. Lucian of Antioch

Vatican International Publishing Exhibition, Polish Pavilion, Rome , Italy , today in Warsaw , Poland:

• Poland mother of saints and shield of Christianity

St. Josefskirche , Kahlenberg , Austria , King Sobieskis Chapel :

• Pope Innocent XI. prays for God's help
• Mass with King Sobieski before the battle for Vienna
• Painting above the exit: Polish soldier with captured standard Kara Mustafas kneeling in front of St. Joseph, next to St. Leopold and Johannes Capistranus

Pontifical Private Chapel, Castel Gandolfo , Rome, Italy:

• Miracle on the Vistula, death of Fr. Ignacy Skorupka
• Defense of Częstochowa against the Swedes

Parish Church of St. Martin, Krościenko Wyżne , Poland:

• Jesus sends disciples to John to tell him
• St. Martin cuts his cloak
• crucifixion
• St. Cecilia receives the "crown of martyrdom"

Rosen plants in the USA:

Polish Embassy, Washington, DC

• Glory of Polish Arms (Glory of the Polish Army)

Polish Pavilion, New York World's Fair 1939, today Polish Museum of America, Chicago , Illinois :

• Exhibition poster
• Poland's Past
• Poland's Future

National Cathedral of Sts. Peter & Paul , Washington, DC

• Chapel of St. Joseph of Arimathea (Chapel of St. Joseph of Arimathea ): Entombment of Christ (Entombment of Christ)

Wesleyan Memorial Hospital, Chicago, Illinois, formerly Memphis, Tennessee:

• The Divine Healer (The Divine Healer)

Lutheran Theological Seminary, Gettysburg, Pennsylvania:

• Lo I am With You Always (See, I am with you all days)

St. Vincent Archabbey, Latrobe, Pennsylvania:

• Monte Cassino

St. Ambrose Catholic Church, West Hollywood, California:

• St. Ambrose with Holy Trinity ( St. Ambrose with Holy Trinity)

US Conference of Catholic Bishops, Washington, DC:

• Christ Enthroned (Christ enthroned)
• Madonna of the Robe (Madonna of the (protective) robe)
• Granting of the NCWC (National Catholic Welfare Conference) Charter

St James Lutharan Church, Washington, DC:

• Christ Blessing the Loaves and Fishes

Ukrainian Catholic Seminary, Stamford , Connecticut :

• Entombment of Christ (Entombment of Christ)
• Christ the Teacher
• Resurrection of Christ
• Good Friday Veils ( Good Friday cloths , textile)

Our Lady Queen of the Most Holy Rosary Cathedral, Toledo , Ohio :

• Battle of Lepanto ( Battle of Lepanto )
• Battle of Temesvar ( Siege of Timisoara )
• Mysteries of the Rosary (the Mysteries of the Rosary )

The St. Clare takes refuge in the Holy Mother Church, Grace Cathedral, San Francisco

The first Anglican service in North America in the presence of Francis Drake 1579, Grace Cathedral, San Francisco

Nativity Chapel, Grace Cathedral, San Francisco

Anglican Grace Cathedral , San Francisco , California :

• Chapel of the Nativity (Nativity Chapel)
• First Anglican Service Held in North America
• Bishop Kip (Bishop Kip)
• St. Clare Offering Herself to Mother Church (St. Clare takes refuge in the Holy Mother Church)
• St. Augustine Meets British King Ethelbert Augustine (of Canterbury) meets British King Æthelberht
• Consecration of Samuel Seabury, First Anglican American Bishop (Consecration of Samuel Seabury , First Anglican Bishop)
• Rediscovery of Monterey Bay (rediscovery of Monterey Bay)

St. Bernhard Catholic Church, Mt. Lebanon, Pennsylvania :

• The Lady Chapel (Liebfrauenkapelle), church crypt: Our Lady of the Alleghenies (Our Lady of the Allegheny Mountains)
• Upper Church: Assumption of the Blessed Virgin to Heaven ( Assumption of the Blessed Virgin in the sky)
• Chapel of St. Joseph: Scenes from the life of St. Joseph, image of the crucifixion
• Lower church, domed roof: Pantocrator and four sections of early Christian missionaries
• Altar: St. Joseph and Doctors of the Eastern and Western Church (St. Joseph and Doctors of the East and West Church)

St. Mary Catholic Church, Edgerton, Ohio:

• Crucifixion triptych

St. John Episcopal Church, Memphis , Tennessee :

• Christ Triumphant (Christ Triumphator)
• Holy Mother Enthroned (Holy Mother Enthroned)
• The Annunciation ( proclamation )
• The Visitation ( Visitation )
• Baptism of Priscilla, Martyr (Baptism of Priscas , Martyr)
• Baptism of God's Son (Baptism of God's Son)
• Baptism of St. Augustine Hippo (Baptism of St. Augustine of Hippo )
• Christ the Judge

St. Luke's Mission of Mercy, formerly St. Luke Catholic Church, Buffalo , New York :

• Dome: Trinity ( Trinity )

St. Like Episcopal Church, Prescott, Arizona :

• Sermon on the Mount ( Sermon )

Mary Star of the Sea Church, La Jolla , California:

• Mary Star of the Sea

St. Cathrine Military School Chaple, Dominican Sisters. Anaheim , California:

• Exterior facade: Mosaics of the Christian Teachers (mosaics of the teachers of Christianity)
• Interior: Christ and the Apostles (Christ and the Apostles )
• East window: Mary Mother of God
• North Face: Seat of Wisdom
• South window: Christ the Creator (Christ the Creator), Stations of the Cross and Seven Sacraments ( Stations of the Cross and the Seven Sacraments ), Descent of Truth (descent of the Truth)

Chapel of the Dominican Sisters, Mother House, Oxford , Michigan, today: Queen of the Family Retreat Center:

• Mosaic with Our Lady, Thomas Aquinas and Catherine of Siena

St. Stephen Martyr, Catholic Church, Monterey Park , California:

• Fourteen Stations of the Cross

Basilica of St. Louis, St. Louis , Missouri :

• Cathedral dome: various mosaic pictures with visions of the apocalyptic Jerusalem

St. Basil the Great Church, Vallejo , California:

• Christ in Majesty and Grandeur

Visitation Preparatory School, Georgetown, Washington, DC:

• St. Joseph Hall: Young Christ Working with His Earthly Father (Young Christ Working with His Earthly Father)

St. Genevieve Church, Canonsburg, Pennsylvania:

• Triptych with scenes of St. Genoveva

St. John Vianney College Seminary, Miami , Florida :

• Mosaic with St. Peter

Portal of St. Matthew Cathedral, Washington, DC

Mosaic in the interior of St. Matthew Cathedral, Braking of the Bread ( breaking of bread )

St. Matthew Cathedral, Washington, DC:

• Mosaic above the entrance: St. Matthew ( St. Matthew )
• Mosaics interior: baptism scene with angels and Jesus as healer / breaking bread (visualizing Christ)

Holy Family Church, Pittsburgh , Pennsylvania , now in Doylestown:

• Poland Ever Faithful

National Shrine of the Immaculate Conception , Washington, DC:

• Christ Pantocrator (Christ Pantocrator)
• Exterior mosaics over door arches

Michaelite Order, Mother House, Poland:

• St Michael Archangel (Archangel Michael)

St. Ann Catholic Church, Chevy Chase , Maryland :

• Creche (crèche)
• Christ Heals Deaf Mute (Christ Heals Deaf Mute)

Church of St. Agnes, Washington, DC:

• Altarpiece with St. Agnes

St. Edmund Episcopal Church, San Marino , California:

• Altarpiece with Christ

Ms. Justin Radio Hour Studio, Athol Springs, New York, today: Ellicott City, Maryland:

• St. Bonaventure (St. Bonaventure)
• Jesus
• St. Francis (St. Francis)
• Unknown (St. Benedict?) (Unknown - St. Benedict?)
• St. Paul (St. Paul)
• St. Joseph (St. Joseph)
• St. John the Baptist (John the Baptist)
• Virgin Mary (Virgin Mary)

Miscellaneous

In the 8th episode of the second season of the US television series Sense8 , the Grace Cathedral in San Francisco was used as a filming location, in which the murals of Rose there, but in particular the Nativity Chapel, are shown.

Individual evidence

1. ↑ cf. Mary Lubienski Flanagan, With Paintbrush and Sword. The Life and Works of Jan Henryk de Rosen , Chantilly (Virginia): Franklin's, 2011, pp. 5-25. see. Joanna Wolańska, The decoration of the Armenian Cathedral in Lwów in: Centropa. A Journal of Central European Architecture and Related Arts, 3 (2003), No. 3, pp. 252-273. URL: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2014/2801
2. ^ Mary Lubienski Flanagan, With Paintbrush and Sword. The Life and Works of Jan Henryk de Rosen , Chantilly (Virginia): Franklin's, 2011, p. 94. Translator: Religious iconography can be seen as a science that complements art history.
3. ^ Mary Lubienski Flanagan, With Paintbrush and Sword. The Life and Works of Jan Henryk de Rosen , Chantilly (Virginia): Franklin's, 2011, p. 41.
4. ↑ cf. Iris Wenderholm , aura, light and beautiful glow. in: Stories on Gold. Picture narratives in early Italian painting, Ed. Stefan Weppelmann, SMB-DuMont, Berlin and Cologne, 2005, pp. 100–113.
5. ^ Mary Lubienski Flanagan, With Paintbrush and Sword. The Life and Works of Jan Henryk de Rosen , Chantilly (Virginia): Franklin's, 2011, p. 96. Transl .: “He is majestic, but He is shown seated, in all his size, younger and more merciful, He wears a scarlet red Cloth, but the chest is uncovered and his side wound is clearly visible. His face is radiant. "
6. ^ Mary Lubienski Flanagan, With Paintbrush and Sword. The Life and Works of Jan Henryk de Rosen , Chantilly (Virginia): Franklin's, 2011, p. 24. Transl .: “The safest path is that of simplicity and honesty. Honesty in the use of material and simplicity of form. Avoid poor imitations. Ugly and cheap are timeless. We have to rely on our common sense and build on the lessons of the past ... "
7. ↑ cf. Francis G. Gentry, Medieval Reception in the United States: “The past has a future!” Madisson (USA) In: Medieval Reception II. Lectures collected from the 2nd Salzburg Symposium “The Reception of the Middle Ages in Literature, Images of Art and Music of the 19th and 20th Centuries ”. Ed .: Jürgen Kühnel u. a., (No. 358, Göppinger Arbeit zur Germanistik, Ed .: Ulrich Müller et al.), Kümmerle Verlag, Göppingen 1982, pp. 81–96.
8. ↑ cf. Dolf Sternberger, On Art Nouveau and Other Essays , Claassen Verlag, Hamburg, 1956, pp. 11–28, 129–138.
9. ↑ cf. Gerhard Kluge, The gesture as a form principle in the poetry of the German Art Nouveau. Comment on some poems in: Essays on literature and art of the turn of the century, ed. by Gerhard Kluge in: Amsterdam contributions to recent German studies, vol. 18, ed. By Gerd Labroisse, Editions Rodopi BV, Amsterdam 1984, pp. 126-128
10. ↑ cf. Lothar van Laak: “You don't know the German soul.” The conception of history and cinematic myth in Fritz Lang's Nibelungen in: Antiquity and the Middle Ages in Film. Construction-Documentation-Projection, Mischa Meier / Simona Slanička (ed.) In: Contributions to History Culture, Vol. 29, ed. by Jörn Rüsen, Böhlau Verlag, Cologne 2007, p. 271.
11. ↑ Joanna Wolanska: The "Bamberg Apocalypse" in the Armenian Cathedral in Lemberg. In: Beate Störtkuhl (ed.): Hanseatic city - residence - industrial location . Contributions to the 7th meeting of the working group of German and Polish art historians in Oldenburg 27.-30. September 2000 (Writings of the Federal Institute for Culture and History of Germans in Eastern Europe 19) Munich 2002, p. 375.
12. ↑ Ibid.
13. ↑ cf. Gerhard Kluge, The gesture as a form principle in the poetry of the German Art Nouveau. Comment on some poems in: Essays on literature and art of the turn of the century, ed. by Gerhard Kluge in: Amsterdam contributions to recent German studies, vol. 18, ed. By Gerd Labroisse, Editions Rodopi BV, Amsterdam 1984, p. 131.
14. ↑ cf. Ibid. Pp. 136-137.
15. ^ Joanna Wolańska, The decoration of the Armenian Cathedral in Lwów in: Centropa. A Journal of Central European Architecture and Related Arts, 3 (2003), No. 3., pp. 161-168.
16. ^ Mary Lubienski Flanagan, With Paintbrush and Sword. The Life and Works of Jan Henryk de Rosen , Chantilly (Virginia): Franklin's, 2011, pp. 27-103.