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The Poznański Palace Commission
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This chapter focuses on Samuel Hirszenberg's significant turn at the end of the century: the commission from the Poznański family in 1898 or 1899 to take part in the renovation of Izrael Poznański's palace. The Poznańskis lived very much like other industrialists in the city. Building magnificent palaces had become one of the staples of the Łódź textile magnates. The chapter also introduces Hilary Majewski, the most influential local developer from 1872 and the city's chief architect. Majewski was the main promoter of the neo-Renaissance style, which, in the second half of the nineteenth century, became one of the most popular architectural styles among the bourgeoisie involved in expanding and secularizing European cities. The chapter then explicates the intensive building activity of the Poznański family project and the sculptural work on the palace exterior. It introduces some of the architects and sculptors involved in the renovation of the palace. The chapter concludes by looking at Hirszenberg's sketches and murals for the dining room which consist of two sets of images: in situ oil paintings installed in the arched panels above the fireplace and above the two doors of the dining room's western wall, and a number of preparatory sketches.
Title: The Poznański Palace Commission
Description:
This chapter focuses on Samuel Hirszenberg's significant turn at the end of the century: the commission from the Poznański family in 1898 or 1899 to take part in the renovation of Izrael Poznański's palace.
The Poznańskis lived very much like other industrialists in the city.
Building magnificent palaces had become one of the staples of the Łódź textile magnates.
The chapter also introduces Hilary Majewski, the most influential local developer from 1872 and the city's chief architect.
Majewski was the main promoter of the neo-Renaissance style, which, in the second half of the nineteenth century, became one of the most popular architectural styles among the bourgeoisie involved in expanding and secularizing European cities.
The chapter then explicates the intensive building activity of the Poznański family project and the sculptural work on the palace exterior.
It introduces some of the architects and sculptors involved in the renovation of the palace.
The chapter concludes by looking at Hirszenberg's sketches and murals for the dining room which consist of two sets of images: in situ oil paintings installed in the arched panels above the fireplace and above the two doors of the dining room's western wall, and a number of preparatory sketches.
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