DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.26552#0447
SUMMARY
The book discusses the relationship between the Polish noble family of Jabłonowski and 18th-
century art. Until recently the Jabłonowski clan were largely missing from the discussions of
magnate families in the south-eastern domains of the former Polish Republic in this context,
and they were not listed among those meritorious in the field of artistic endowments. In terms
of political importance, the Jabłonowski family were indeed a lesser house: not included in the
senatorial ranks, they did not play any significant role in the public life of either the Republic,
or even locally — of the Red Ruthenia and Volhynia. The reason for this would be a relatively
late advancement of the Jabłonowski family and their ennobłement among the magnates which
was not until the łast ąuarter of the 17th century, while the short climax of their importance fell
in the lifetime of the most outstanding family member, Grand-General of the Połish crown, the
Castellan of Kraków, Stanisław Jabłonowski (1634-1702). The generations that followed after his
death did not distinguish themselves in the social and political arena, even though it was in the
18th century that the Jabłonowski family came to be regarded as not merely a family but “an
ancient ancestral home” or “the noble House of Jabłonowski.” This familys endowments have
received but a cursory treatment to date; at best they were only mentioned in the monographs
of particular artworks or monuments. Until now, no publication sought to address the topic
at length, while art historians did not perceive the Jabłonowski famiły as having any serious in-
terest in the arts. The present book attempts to analyse, fulły and thoroughly, the endowments,
artistic aspirations, and patronage extended by subseąuent family members — representatives
of their respective generations.
In the Jabłonowski family castle in Zawałów, we find the following two inscriptions: “Deo
— Sibi — Popu/o” and “Sibi — Amicis — Posteritati.” The title of the present work jumbles the
words in those inscriptions, linking them to respective family members, the protagonists of this
thesis. Particular denominations fittingly describe the character of involvement in the arts field,
the main goals and scope of activity of subseąuent Jabłonowskis. The first character we present
is the eldest offspring of the Grand-General: the Voivode (Palatine) of Ruthenia, Jan Stanisław
(1669-1731), the next is the latters eldest son, the Voivode of Rawa, Stanisław Wincenty (1694-
-1754), and finally the nephew of the first, the Voivode of Nowogródek (todays Navahrudak),
Józef Aleksander (1711-1777).
The dominant feature of the Jabłonowskis’ artistic endowments is the phenomenon of familial
propaganda coupled with the consistent cult of ancestors, presented in the artworks, which serves
as a reinforcement and legitimisation for the present status of the contemporary family members.
Through artworks, the Jabłonowskis created their familys prestige. At the same time, these works
of art testified to their magnificence and power, thus building the public image for the further
generations of the Jabłonowskis. Paradoxically, however, this image was not followed by or cou-
pled with any real political significance. The Jabłonowskis remained faithful supporters at the
court of king Stanisław Leszczyński, adherent to the pro-French option, and therefore they took
virtually no part in the intrigues of the Saxon court.
Artistic means of creating the image of the Jabłonowski famiły, and of reinforcing their sta-
tus, are not at all different from those appearing in the 16th and 17th century art. One way was
to build magnificent, imposing residencies. The construction of an impressive castłe, or a palace,
The book discusses the relationship between the Polish noble family of Jabłonowski and 18th-
century art. Until recently the Jabłonowski clan were largely missing from the discussions of
magnate families in the south-eastern domains of the former Polish Republic in this context,
and they were not listed among those meritorious in the field of artistic endowments. In terms
of political importance, the Jabłonowski family were indeed a lesser house: not included in the
senatorial ranks, they did not play any significant role in the public life of either the Republic,
or even locally — of the Red Ruthenia and Volhynia. The reason for this would be a relatively
late advancement of the Jabłonowski family and their ennobłement among the magnates which
was not until the łast ąuarter of the 17th century, while the short climax of their importance fell
in the lifetime of the most outstanding family member, Grand-General of the Połish crown, the
Castellan of Kraków, Stanisław Jabłonowski (1634-1702). The generations that followed after his
death did not distinguish themselves in the social and political arena, even though it was in the
18th century that the Jabłonowski family came to be regarded as not merely a family but “an
ancient ancestral home” or “the noble House of Jabłonowski.” This familys endowments have
received but a cursory treatment to date; at best they were only mentioned in the monographs
of particular artworks or monuments. Until now, no publication sought to address the topic
at length, while art historians did not perceive the Jabłonowski famiły as having any serious in-
terest in the arts. The present book attempts to analyse, fulły and thoroughly, the endowments,
artistic aspirations, and patronage extended by subseąuent family members — representatives
of their respective generations.
In the Jabłonowski family castle in Zawałów, we find the following two inscriptions: “Deo
— Sibi — Popu/o” and “Sibi — Amicis — Posteritati.” The title of the present work jumbles the
words in those inscriptions, linking them to respective family members, the protagonists of this
thesis. Particular denominations fittingly describe the character of involvement in the arts field,
the main goals and scope of activity of subseąuent Jabłonowskis. The first character we present
is the eldest offspring of the Grand-General: the Voivode (Palatine) of Ruthenia, Jan Stanisław
(1669-1731), the next is the latters eldest son, the Voivode of Rawa, Stanisław Wincenty (1694-
-1754), and finally the nephew of the first, the Voivode of Nowogródek (todays Navahrudak),
Józef Aleksander (1711-1777).
The dominant feature of the Jabłonowskis’ artistic endowments is the phenomenon of familial
propaganda coupled with the consistent cult of ancestors, presented in the artworks, which serves
as a reinforcement and legitimisation for the present status of the contemporary family members.
Through artworks, the Jabłonowskis created their familys prestige. At the same time, these works
of art testified to their magnificence and power, thus building the public image for the further
generations of the Jabłonowskis. Paradoxically, however, this image was not followed by or cou-
pled with any real political significance. The Jabłonowskis remained faithful supporters at the
court of king Stanisław Leszczyński, adherent to the pro-French option, and therefore they took
virtually no part in the intrigues of the Saxon court.
Artistic means of creating the image of the Jabłonowski famiły, and of reinforcing their sta-
tus, are not at all different from those appearing in the 16th and 17th century art. One way was
to build magnificent, imposing residencies. The construction of an impressive castłe, or a palace,