DOI Heft:
Nr. 2-4
DOI Artikel:Miziołek, Jerzy: The story of Antiochus and Stratonice by a pupil of Jacques-Louis David: the painting by Józef Oleszkiewicz in the Lithuanian Art Museum in Vilnius
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18948#0131
2. Antoni Brodowski,
Saul's Anger with David,
oil on canvas,
1812-19, Warsów,
Muzeum Narodowe
stipulations of members of Polish elites during the age of Enlightenment aimed
at the artistic training of the Polish artists, were already beginning to bear fruit
in the first decade of the nineteenth century.
01eszkiewicz’s painting, the theme of which has been recognised correctly
at least sińce late 1960s, was mentioned only perfunctorily, without referring
to literary sources; neither was the painting discussed in the context of earlier
and contemporary representations of the same theme.' This paper is an
attempt at a monographic study of the painting, which in Oleszkiewicz’s work
plays almost as important role as SauVs Anger with David in the oeuvre of
Antoni Brodowski (1784-1832), housed in the National Museum in Warsaw
(ill. 2). Both paintings were certain manifestos of maturę classicism mspired
by the work of Jacąues-Louis David (1748-1825) in the former Polish-
-Lithuanian Republic.4 Together with numerous drawings and paintings by
Lietuvos Daile XVI-XIX a. Tapyba, skulptura. Katalogas, Vilnius 1969, no 130, p. 38. The
painting was mentioned also in S. Kozakiewicz, Malarstwo polskie. Oświecenie, klasycyzm,
romantyzm, Warszawa 1976, p. 280 and J. Białynicka-Birula, “Józef Oleszkiewicz”, in Słownik
artystów polskich i obcych w Polsce działających, vol. 6, Warszawa 1998, p. 260. Cf. also
W Dobrowolski and K. Załęski, op. cit.
For the reception of David’s art in Poland cf. Ryszkiewicz, op. cit., pp. 148-169. Cf. also
Lorentz, Rottermund, op. cit., pp. 48—49.
125
Saul's Anger with David,
oil on canvas,
1812-19, Warsów,
Muzeum Narodowe
stipulations of members of Polish elites during the age of Enlightenment aimed
at the artistic training of the Polish artists, were already beginning to bear fruit
in the first decade of the nineteenth century.
01eszkiewicz’s painting, the theme of which has been recognised correctly
at least sińce late 1960s, was mentioned only perfunctorily, without referring
to literary sources; neither was the painting discussed in the context of earlier
and contemporary representations of the same theme.' This paper is an
attempt at a monographic study of the painting, which in Oleszkiewicz’s work
plays almost as important role as SauVs Anger with David in the oeuvre of
Antoni Brodowski (1784-1832), housed in the National Museum in Warsaw
(ill. 2). Both paintings were certain manifestos of maturę classicism mspired
by the work of Jacąues-Louis David (1748-1825) in the former Polish-
-Lithuanian Republic.4 Together with numerous drawings and paintings by
Lietuvos Daile XVI-XIX a. Tapyba, skulptura. Katalogas, Vilnius 1969, no 130, p. 38. The
painting was mentioned also in S. Kozakiewicz, Malarstwo polskie. Oświecenie, klasycyzm,
romantyzm, Warszawa 1976, p. 280 and J. Białynicka-Birula, “Józef Oleszkiewicz”, in Słownik
artystów polskich i obcych w Polsce działających, vol. 6, Warszawa 1998, p. 260. Cf. also
W Dobrowolski and K. Załęski, op. cit.
For the reception of David’s art in Poland cf. Ryszkiewicz, op. cit., pp. 148-169. Cf. also
Lorentz, Rottermund, op. cit., pp. 48—49.
125