Instytut Historii Sztuki <Posen> [Hrsg.]
Artium Quaestiones — 21.2010

Seite: 85
DOI Heft: DOI Artikel: DOI Seite: Zitierlink: 
https://digi.ub.uni-heidelberg.de/diglit/artium_quaestiones2010/0087
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LE PROJET DU SALON D'OR DE J.A. MEISSONNIER

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trouble. The work on the parlor, lasting longer than a year and a half, as the original
contract specified, was rapidly stopped by the French artisFs sudden death in the
summer of 1750. According to the inventory madę in August of the same year, in
MeissonieFs workshop one could find a large number of the decorative elements of
the woodwork pieces of carved wood, and the ceiling painting which was
almost finished. Since the Czartoryskis decided to continue the decoration, it became
necessary to ask other artists for help. Eventually, the elements of the Golden Parlor
left Paris in 1751 and reached their destination next year. The parlor was then fi-
nished in 1752.
It was the intention of the Czartoryskis, leaders of a powerful Polish political
party, the so-called FTu/uha, to make the decoration of the Golden Salon a symbol of
their place in the aristocratic social hierarchy and power. A contract with Meissonier
guaranteed them a result that would stand out in the local context, still dominated by
the tradition of the Italian baroque and the rococo architects of Dresden, connected
with the Wettin court. The architectonic structure and ornament details used by
Meissonier madę his design quite autonomous against the background of the main
stylistic trends in the Polish art of the late 18^ century. On the other hand, however,
the Italianate details, also present in the design of the artist from Paris, brought it
close to the generał tendency to continue the pro-Italian current in the early modern
art of Poland.
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