DOI Heft:
No. 4
DOI Artikel:Sulerzyska, Teresa; Lubieniecki, Krzysztof [Ill.]: The drawing of Christopher Lubieniecki in the Sir Robert Witt Collection
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17137#0128
trees, and the differentiation of planes etc, the architecture in the drawing in ąuestion is treated
in the way characteristic for this artist. The smali tempie with columns situated on the hill
is repeated in many of his drawings, among others in the landscape of 1728
in the Rijksmuseum (fig. 4). The "Landscape with the round tempie" in the Louvre4 is also
similar, Ali landscapes by Christopher Lubieniecki have the same indefinite human figures:
a few tiny figures walking, talking or resting, in smali groups, often in couples. An idyllic
atmosphere emanates from these calm scenes in a sunny southern country, with a certain classic
disposition originating probably from the study of Gerard de Lairesse,
Bogdan Lubieniecki's landscapes are known from nine etchings and one drawing5 which
are of different styles. There are strongly contrasted elements of naturę, wild rocky scenery
with huge grottos appearing suddenly in the plains, and human figures, all this
produces the impression of movement, unrest, or desolation. In the background the smooth
surfaces of lakes or bays are to be seen, or views of towns with antique ruins in front of them.
Both arcadian landscapes of Christopher as well as the more dramatic compositions of
Bogdan, are part of the italianizing tendency. Bogdan travelled in Italy; his pictures however,
though realistic, apparently do not register his impressions, but are fantasies of Italy. We
have no proofs that Christopher whenever went farthcr than Germany and Netherlands
and visited the Sauth though his brother the colonel Paul John Lubieniecki adrcsscd his
letter to him as captain of the Venetian Republic.6 Classical landscapes were greatly in
favour in Holland, especially sińce the forties of the XVIIth century. Besides being favoured
by the typical "italianizing" painters, they are also favoured by artists like Christopher whose
main style was realistic and genre painting. In the first ąuarter of the XVIIIth century,
i.e. the period of late Baroąue classicism, we often find such landscapes among the drawings
of many artists, — Lubieniecki's contemporaries, — such as J. v. Huysum, G. Hoet,
J. v. Nikkelen, A. Meyeringh and J. Glauber.
4. Demonts, o. c, Table CLIV; Walicki, o. c.,fig. 53. A Bimilar motive of a circular bulding is to be seen in the landscape back-
ground of the antiquisant portrait of an unknown family painted by Bogdan Lubieniecki, in the National Museum in War-
saw, cf. Walicki, o. c, fig. 2,
5. Przypkowski, o. c., pp. 39 — 46; Batowski, o. c, p. 20; Walicki, o. c, pp. 15 — 16.
6. J. Tazbir, Nowe materiały do biografii Lubienieckich, „Biuletyn Historii Sztuki" (New raateriala to the biography
of the" Lubieniecki, "Bulletin of tbe History of Art"), vol. XXIV, 1962, no. 2, p. 215.
118
in the way characteristic for this artist. The smali tempie with columns situated on the hill
is repeated in many of his drawings, among others in the landscape of 1728
in the Rijksmuseum (fig. 4). The "Landscape with the round tempie" in the Louvre4 is also
similar, Ali landscapes by Christopher Lubieniecki have the same indefinite human figures:
a few tiny figures walking, talking or resting, in smali groups, often in couples. An idyllic
atmosphere emanates from these calm scenes in a sunny southern country, with a certain classic
disposition originating probably from the study of Gerard de Lairesse,
Bogdan Lubieniecki's landscapes are known from nine etchings and one drawing5 which
are of different styles. There are strongly contrasted elements of naturę, wild rocky scenery
with huge grottos appearing suddenly in the plains, and human figures, all this
produces the impression of movement, unrest, or desolation. In the background the smooth
surfaces of lakes or bays are to be seen, or views of towns with antique ruins in front of them.
Both arcadian landscapes of Christopher as well as the more dramatic compositions of
Bogdan, are part of the italianizing tendency. Bogdan travelled in Italy; his pictures however,
though realistic, apparently do not register his impressions, but are fantasies of Italy. We
have no proofs that Christopher whenever went farthcr than Germany and Netherlands
and visited the Sauth though his brother the colonel Paul John Lubieniecki adrcsscd his
letter to him as captain of the Venetian Republic.6 Classical landscapes were greatly in
favour in Holland, especially sińce the forties of the XVIIth century. Besides being favoured
by the typical "italianizing" painters, they are also favoured by artists like Christopher whose
main style was realistic and genre painting. In the first ąuarter of the XVIIIth century,
i.e. the period of late Baroąue classicism, we often find such landscapes among the drawings
of many artists, — Lubieniecki's contemporaries, — such as J. v. Huysum, G. Hoet,
J. v. Nikkelen, A. Meyeringh and J. Glauber.
4. Demonts, o. c, Table CLIV; Walicki, o. c.,fig. 53. A Bimilar motive of a circular bulding is to be seen in the landscape back-
ground of the antiquisant portrait of an unknown family painted by Bogdan Lubieniecki, in the National Museum in War-
saw, cf. Walicki, o. c, fig. 2,
5. Przypkowski, o. c., pp. 39 — 46; Batowski, o. c, p. 20; Walicki, o. c, pp. 15 — 16.
6. J. Tazbir, Nowe materiały do biografii Lubienieckich, „Biuletyn Historii Sztuki" (New raateriala to the biography
of the" Lubieniecki, "Bulletin of tbe History of Art"), vol. XXIV, 1962, no. 2, p. 215.
118