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#0138
6. Maestro di Stratonice,
Seleucus with his
Relinue Leming his
III Son's Cham ber,
detail of ill. 2
the actual wedding ceremony; however, as Marilena Caciorgna has recently
shown in the editio princeps of the Latin translation of Plutarch’s Lives, dated
from 1470, such an event is indeed described.34 It is worth adding that it
was a common habit to attach numerous “additions” to the fourteenth and
fifteenth century translations from the classics madę in Italy. Only a wedding
scene is included in one of the tondos decorating the front panel of a cassone
by Bartolomeo Montagna from around 1500 (Oxford, Ashmolean Museum).35
Thus, the story is depicted here in the pars pro toto manner and, as was often
the case in paintings from Northern Italy, is presented together with scenes on
similar themes.36
Andor Pigler gives a list of almost seventy representations of Antiochus’
love for Stratonice, but his list is by no means complete and, somewhat
inevitably, fails to include 01eszkiewicz’s painting.3' Before we turn to
neoclassical representations of the theme, we should at least mention its
most famous depictions during the Renaissance and Baroąue and discuss
34 Caciorgna, “Temi plutarchei...”, op. cit., pp. 177-205, particularly 193 ff.
33 E. Waterhouse, “The Panels from a Cassone by Montagna at the Ashmolean Museum”,
Burlington Magazine, 89, 1947, pp. 46—47; F. Barbieri, Pittori di Vicenza 1480-1520, Vicenza
1982, p. 35, ill. 76.
36 For the differences between the cassone painting in Tuscany and Northern Italy cf. J. Miziołek,
“Observations on the Artistic Geography of Italian Renaissance Domestic Painting”, in Borders in
Art. Revisiting Kunstgeographie, ed. by K. Murawska-Muthesius, in press.
~’7 A. Pigler, Barocktheme. Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18.
Jahrhuderts, vol. 2, Budapest 1974, pp. 364-365.
132
Seleucus with his
Relinue Leming his
III Son's Cham ber,
detail of ill. 2
the actual wedding ceremony; however, as Marilena Caciorgna has recently
shown in the editio princeps of the Latin translation of Plutarch’s Lives, dated
from 1470, such an event is indeed described.34 It is worth adding that it
was a common habit to attach numerous “additions” to the fourteenth and
fifteenth century translations from the classics madę in Italy. Only a wedding
scene is included in one of the tondos decorating the front panel of a cassone
by Bartolomeo Montagna from around 1500 (Oxford, Ashmolean Museum).35
Thus, the story is depicted here in the pars pro toto manner and, as was often
the case in paintings from Northern Italy, is presented together with scenes on
similar themes.36
Andor Pigler gives a list of almost seventy representations of Antiochus’
love for Stratonice, but his list is by no means complete and, somewhat
inevitably, fails to include 01eszkiewicz’s painting.3' Before we turn to
neoclassical representations of the theme, we should at least mention its
most famous depictions during the Renaissance and Baroąue and discuss
34 Caciorgna, “Temi plutarchei...”, op. cit., pp. 177-205, particularly 193 ff.
33 E. Waterhouse, “The Panels from a Cassone by Montagna at the Ashmolean Museum”,
Burlington Magazine, 89, 1947, pp. 46—47; F. Barbieri, Pittori di Vicenza 1480-1520, Vicenza
1982, p. 35, ill. 76.
36 For the differences between the cassone painting in Tuscany and Northern Italy cf. J. Miziołek,
“Observations on the Artistic Geography of Italian Renaissance Domestic Painting”, in Borders in
Art. Revisiting Kunstgeographie, ed. by K. Murawska-Muthesius, in press.
~’7 A. Pigler, Barocktheme. Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18.
Jahrhuderts, vol. 2, Budapest 1974, pp. 364-365.
132