DOI issue:
Nr. 2-4
DOI article: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 Page / Citation link:https://doi.org/10.11588/diglit.18948#0136
3. Maestro di Stratonice,
The Story ofAntiochus
and Stratonice,
ca. 14/0, part 1,
front of cassone,
tempera on wood,
San Marino,
Huntington Library
(Phot. Huntington
Library)
4. Maestro di Stratonice,
The Story ofAntiochus
and Stratonice,
ca. 14/0, part 2,
front of cassone,
tempera on wood,
San Marino,
Huntington Library
(Pbot. Huntington
Library)
The artist received his education in Siena, probably in the workshop of
Francesco di Giorgio Martini, and it was in this great Tuscan city that he
painted two cassoni (marriage chests, usually presented in pairs), the front
panels of which are housed in the Huntington Library in San Marino. They
are decorated with paintings in the continuous narrative commenced on one
and concluded on the other (ill. 3-4).32 While in 01eszkiewicz’s canvas, like
in many other paintings depicting the same subject just one culminant scene
is shown, in Ciampanti’s panels as many as six scenes are to be seen. The first
of these portrays a chamber with a bed on which Antiochus lies while
a physician is taking his pulse; i. e. in this way the physician makes his discovery
(ill. 5). A young woman standing on the right is, no doubt, the beautiful
Stratonice. The ensuing scene depicts the physician standing next to the young
man’s distressed father, accompanied by his wife and a large retinue (ill. 6).
Seleucus is depicted here as an old, bearded man wearing a crown. The
finał scene of the first painting by Ciampanti depicts the kmg speaking
Stratonice”, Ricerche di Storia delPArte, 1985, 26, pp. 18-27; idem, “Nouvelłes perspectives sur
la peinture lacąuoise du Quattrocento”, Revue de l’art, 75, 1987, pp. 29-36.
32 B. Berenson, Italian Pictures ofthe Renaissance . A List of the Principal Artists and their Works
with an Index of Places, vol. I: Central Italian and North Italian Schools, London 1969,
pp. 256-257, ill. 835 and 837; M. Caciorgna, “Da Eunosto di Tanagra a Giuseppe Ebreo. Un
dipinto del ciclo ‘Piccolomini’ a Washington”, La Diana, New Ser., I, 1995, pp. 242-243. Cf. also
P. Misciatelli, “Cassoni senesi”, La Diana, IV, 1929, pp. 117-126.
130
The Story ofAntiochus
and Stratonice,
ca. 14/0, part 1,
front of cassone,
tempera on wood,
San Marino,
Huntington Library
(Phot. Huntington
Library)
4. Maestro di Stratonice,
The Story ofAntiochus
and Stratonice,
ca. 14/0, part 2,
front of cassone,
tempera on wood,
San Marino,
Huntington Library
(Pbot. Huntington
Library)
The artist received his education in Siena, probably in the workshop of
Francesco di Giorgio Martini, and it was in this great Tuscan city that he
painted two cassoni (marriage chests, usually presented in pairs), the front
panels of which are housed in the Huntington Library in San Marino. They
are decorated with paintings in the continuous narrative commenced on one
and concluded on the other (ill. 3-4).32 While in 01eszkiewicz’s canvas, like
in many other paintings depicting the same subject just one culminant scene
is shown, in Ciampanti’s panels as many as six scenes are to be seen. The first
of these portrays a chamber with a bed on which Antiochus lies while
a physician is taking his pulse; i. e. in this way the physician makes his discovery
(ill. 5). A young woman standing on the right is, no doubt, the beautiful
Stratonice. The ensuing scene depicts the physician standing next to the young
man’s distressed father, accompanied by his wife and a large retinue (ill. 6).
Seleucus is depicted here as an old, bearded man wearing a crown. The
finał scene of the first painting by Ciampanti depicts the kmg speaking
Stratonice”, Ricerche di Storia delPArte, 1985, 26, pp. 18-27; idem, “Nouvelłes perspectives sur
la peinture lacąuoise du Quattrocento”, Revue de l’art, 75, 1987, pp. 29-36.
32 B. Berenson, Italian Pictures ofthe Renaissance . A List of the Principal Artists and their Works
with an Index of Places, vol. I: Central Italian and North Italian Schools, London 1969,
pp. 256-257, ill. 835 and 837; M. Caciorgna, “Da Eunosto di Tanagra a Giuseppe Ebreo. Un
dipinto del ciclo ‘Piccolomini’ a Washington”, La Diana, New Ser., I, 1995, pp. 242-243. Cf. also
P. Misciatelli, “Cassoni senesi”, La Diana, IV, 1929, pp. 117-126.
130