DOI issue:
Nr. 1-2
DOI article:Bernatowicz, Aleksandra: Dobrzyca - błędów - mała wieś: dekoracje "Jego mości pana malarza" Roberta Stankiewicza
DOI Page / Citation link:https://doi.org/10.11588/diglit.49354#0083
Dobrzyca, Błędów and Mała Wieś. Decorations of Robert Stankiewicz
77
kontrakt ten natychmiast P. Stankiewicza obowiązuje a JW Walicką dopiero w ten czas,
gdy go zaaprobuje / dan w Blędowie 16 X bris 1811
Wiercińskiego (?)
[Na samym dole, słabo czytelne]
[Na odwrocie kontraktu: ]
Pierwszego Maia cała robota ma bydź ukończona. Zadatku na ten kontrakt ma prawo
pobierania # 3 (monet?) Trzy które iako i każdej dalszej pobrania pieniędzy, na tym kontr-
akcie ma bydź wpisany i (iako?) zaświadczony
X Józef Wierciński
[podpis własnoręczny]
Robert Stankiewicz
[podpis własnoręczny]
Dobrzyca, Błędów and Mała Wieś. Decorations
of 'His Excellency the Painter ', Robert Stankiewicz
This article focuses upon the creative work of the
painter and decorator Robert Stankiewicz, in which
the authoress has sought to establish certain facts
concerning his artistic biography known until now
exclusively from minor bibliographical and archival
references. Edward Rastawiecki noted the existence
of a painter with such a Christian and surname to
whom he laconically attributed oil paintings and
wall decorations depicting illusionist architecture in
the Piarists'church of Wieluń (1794), as well as im-
precisely defined works at the Jasna Góra monastery
of Częstochowa. However, not one of these works
has ever been discovered.
During conservation work recently carried out on
the pałace at Dobrzyca, in a ground-floor room
decorated with polychrome featuring grotesque mo-
tifs, the signature of Robert Stankiewicz, placed in a
sopraporta in the south-facing wall, came to light. It
has been accepted that the entire polychrome arose
in the years 1800-1804 (ill.l). The scene painted in
the sopraporta presents a nymph or goddess whose
identity is difficult to establish seated in a fantasy
boat drawn by seahorses (ills. 2-3). A similar com-
position depicts Amphitrite and Galatea. It cannot
be ruled out that the scene composed around a liber-
ally treated mythological motif contains allusions to
Masonie ideology with which the palace's founder,
Augustyn Gorzeński, is known to have closely
identified.
In turn, the scene in the west-facing sopraporta
ofputties painted in shades of light and dark engaged
in mock fights were almost certainly inspired by wall
paintings composed en grisaille by Louis-Piat
Sauvage (ill. 4).
The type of decoration applied on the walls of
the room under examination was inspired by the
painted pilasters of the Raphael Loggia in the Vati-
can Pałace (1519) which would have been familiar
through the series of prints by Giovanni Volpato
titled Loggia di Raffaello nel Vaticano, published in
Rome between 1772 and 1777. The painter of the
drawing room at Dobrzyca whom the authoress iden-
tifies as Robert Stankiewicz copied selected details
of the pilasters. Lack of space required the exclusion
of certain motifs, thus resulting in a travesty of cer-
tain ornamental arrangements (ills. 7, 8, 9). Among
numerous cases of decoration in Europe inspired by
the Loggias, the decorative programmes carried out
in the Sala dello Zodiaco in Rome's Palazzo Spada
(ill. 10), which has been dated to the beginning of
the 19th century, may be compared with Dobrzyca,
although the Italian polychrome is richer and more
varied. In turn, the ceiling decorated with a rosette
encircled by a fan (ills. 5,6) recalls the decoration of
two other rooms in the Palazzo Spada: Stanza eon
Sogno di Giacobbe and Stufetta (i.e. the bathing
room). In the 18th century fan-shaped ceilings were
also readily applied in the Polish and Lithuanian
77
kontrakt ten natychmiast P. Stankiewicza obowiązuje a JW Walicką dopiero w ten czas,
gdy go zaaprobuje / dan w Blędowie 16 X bris 1811
Wiercińskiego (?)
[Na samym dole, słabo czytelne]
[Na odwrocie kontraktu: ]
Pierwszego Maia cała robota ma bydź ukończona. Zadatku na ten kontrakt ma prawo
pobierania # 3 (monet?) Trzy które iako i każdej dalszej pobrania pieniędzy, na tym kontr-
akcie ma bydź wpisany i (iako?) zaświadczony
X Józef Wierciński
[podpis własnoręczny]
Robert Stankiewicz
[podpis własnoręczny]
Dobrzyca, Błędów and Mała Wieś. Decorations
of 'His Excellency the Painter ', Robert Stankiewicz
This article focuses upon the creative work of the
painter and decorator Robert Stankiewicz, in which
the authoress has sought to establish certain facts
concerning his artistic biography known until now
exclusively from minor bibliographical and archival
references. Edward Rastawiecki noted the existence
of a painter with such a Christian and surname to
whom he laconically attributed oil paintings and
wall decorations depicting illusionist architecture in
the Piarists'church of Wieluń (1794), as well as im-
precisely defined works at the Jasna Góra monastery
of Częstochowa. However, not one of these works
has ever been discovered.
During conservation work recently carried out on
the pałace at Dobrzyca, in a ground-floor room
decorated with polychrome featuring grotesque mo-
tifs, the signature of Robert Stankiewicz, placed in a
sopraporta in the south-facing wall, came to light. It
has been accepted that the entire polychrome arose
in the years 1800-1804 (ill.l). The scene painted in
the sopraporta presents a nymph or goddess whose
identity is difficult to establish seated in a fantasy
boat drawn by seahorses (ills. 2-3). A similar com-
position depicts Amphitrite and Galatea. It cannot
be ruled out that the scene composed around a liber-
ally treated mythological motif contains allusions to
Masonie ideology with which the palace's founder,
Augustyn Gorzeński, is known to have closely
identified.
In turn, the scene in the west-facing sopraporta
ofputties painted in shades of light and dark engaged
in mock fights were almost certainly inspired by wall
paintings composed en grisaille by Louis-Piat
Sauvage (ill. 4).
The type of decoration applied on the walls of
the room under examination was inspired by the
painted pilasters of the Raphael Loggia in the Vati-
can Pałace (1519) which would have been familiar
through the series of prints by Giovanni Volpato
titled Loggia di Raffaello nel Vaticano, published in
Rome between 1772 and 1777. The painter of the
drawing room at Dobrzyca whom the authoress iden-
tifies as Robert Stankiewicz copied selected details
of the pilasters. Lack of space required the exclusion
of certain motifs, thus resulting in a travesty of cer-
tain ornamental arrangements (ills. 7, 8, 9). Among
numerous cases of decoration in Europe inspired by
the Loggias, the decorative programmes carried out
in the Sala dello Zodiaco in Rome's Palazzo Spada
(ill. 10), which has been dated to the beginning of
the 19th century, may be compared with Dobrzyca,
although the Italian polychrome is richer and more
varied. In turn, the ceiling decorated with a rosette
encircled by a fan (ills. 5,6) recalls the decoration of
two other rooms in the Palazzo Spada: Stanza eon
Sogno di Giacobbe and Stufetta (i.e. the bathing
room). In the 18th century fan-shaped ceilings were
also readily applied in the Polish and Lithuanian